1. YOUR NAME HERE

2.  This template PowerPoint presentation includes all the
relevant elements you need to cover your film production.
 It is suggested you save this PP in a different name so you
always have a copy – some sections require you to delete the
information on the slide and replace with your own work
 Add more pages to each section where necessary [you should
be doing this!]
 Add visuals as you see necessary
 This document will be added to as you progress through the
pre-production phase.
 Remember, you need to give as much attention to your sound
planning as you do to your visual planning

3. TIMES TICKING!

7.  Breakdown your film into it’s basic sections [e.g. via scene
breakdown or similar] and apply broad visual ideas to each
section. You should list the shots required
 You can use this as the master template for your production,
then add more shots to each section when you develop your full
visual plan
 From this you could work on a conventional script if you want,
but using the scene breakdowns should be enough

8. Scene No. Approx timing What happens Visual notes Audio notes
Set up. seconds Main character walking
down the street in comfort.
Then he receives a text
message saying that this
radon person has his
girlfriend captured and
taken. The guy doesn't
believe the text and asks if
it is a joke. He the receives
a video that proves she is
being held hostage with the
guy showing papered
message with his demands.
Long shot of the main
character walking down the
street from the side, into a
medium of the front of him
listening to music, then into
a close up of him getting his
phone out from receiving a
text message. A close up of
the guy reacting to the text
message and then back to
him typing back. Then a
POV of him watching the
video. Then a final medium
shot the main character
running away.
Street noise maybe
cars going past.
Text message and
typing and audio
for the video.

9. Scene No. Approx
timing
What happens Visual notes Audio notes
Searching. Seconds Following the clues that have
been left for him he is
roaming and running about
at his quickest trying get
there in time before the time
runs out. Whilst doing all this
he becomes stressed but then
find a straight head to keep
on going. He then finds a
promising lead and finally
thinks he has found the place
here she is being kept.
For this act I want
multiple of shots such
a medium and close
ups of him running and
showing his full
expression of the
uncomfortable
situation and I
wouldn't’t mind some
super up close shots to
express the intensity.
Have running
footsteps and still
street noise and
have tom shouting
out for his girl.
Heavy breathing.

10. Scene No. Approx
timing
What happens Visual notes Audio notes
Found. Seconds He finally finds the place
where she is being kept. But
he is surprised because it
isn't in the middle of know
where like any other horror
but in a small village and in a
normal four bedroom family
house. He slowly approaches
the house and enters. When
he enters he is slowly
creeping around searching
with his eyes on complete
focus trying to find his
girlfriend. He spots her in a
room lying on the floor, but
then he realises that is not
his girlfriend. Whilst he’s
confused he notices a note in
the girls hand and grabs it.
Whilst he grabs the note he
receives another text message
from his girl friend saying
”what's up, sorry I've been
asleep!”. He reads the not it
says “times up” then he gets
grabbed from behind.
Because this will be
the most intense part
of the short film so I
will be using another
POV of him walking
around the house. A
lot of close ups and a
final medium shot that
will hopefully catch
people off.
Ill have some
creeks, doors
opening, breathing
and some intense
scary music to set
the final ending.

11. Visual Planning

12.  This section is concerned with the visual planning of your film
 You should use this section to develop the sequencing or your
video, establish the visuals look and sequencing of your film
and create a structure for you to follow when filming
 It is important that you ‘pre-visualise’ the film before you
make it; it will make filming and production a more
streamlined process
 The following tasks are part of your visual planning
 Pre-visualisation and concept boards
 Storyboarding
 Shot list

13.  Tool for exploring the direction and visuals
 Provides inspiration and information for the “look & feel”
 Presents key moments in your video
 A means to sketch/plan ideas
 Information on colour/lighting
 Defining the “mise-en-scene”
 Include as much here as you like, but keep it relevant to the
production, the following slides have been left blank for you to
approach in your own way, add more as you need to
 Suggestion: include your edited short sequence of clips that have
inspired or influenced your video [similar to this:
http://io9.com/5941145/this-directors-video-pitch-for-hunger-
games-might-be-better-than-the-real-movie]

14.  https://youtu.be/nGAiQBRKl1o
 This is a practice and an example of what I want my short film
to be like.
 Apart from the actual story line, I have got a lot of inspiration
for my shots from films I have watched and watching other
people direct their ownfilms.

15.  Your storyboard should bring your idea to life
 Provide an idea of the sequencing of you film
 Provides a basis for production
 Suggested online storyboard creators are:
 https://www.storyboardthat.com
 http://www.pixton.com [very complicated]
 http://www.storyjumper.com [allows you to insert your own images]
 Alternatively, hand draw or photograph your storyboard and
scan or copy to insert it onto your slides
 There are lots of tips collected together on Blackboard!

16. The main character walking down the
street in comfort. Just been shopping.
Walking home happy listening to
music.
Medium shot of the character getting
his phone out because he has just
received a text message.
A close up of his face with his reaction
of what is on the text message. He's
very shocked.
He responds questioning the message
and gets a message back.
The message back was a video of
proof that he really does have his
girlfriend. With a clue.

17. A medium shot of The main character
runs off in panic trying to find out the
clues.
A medium shot of him Running around
still trying to find more clues nearly
losing his head.
A super up close shot of the
character running.
A up close shot of the character being
stressed and confused.
A medium shot of the character
running nearly running out of time.
A close up of him finding the last clue
and figures out where to go.

18. A long shot of him finding the house in
relief because he just made it in time.
A medium shot of him slowly
entering the normal house confused
but focused.
A POV of the main character walking
around the house.
A close up of him finding his girl friend
which isn't really his girlfriend. He
finds a note in her hands.
A close up of his surprise and shocked
face.
Another POV of a text from his
girlfriend saying “what's up, sorry ive
been sleep!”.

19. Full of emotion and anger he reads
the note and it says “times up”.
He gets taken by the killer.

20.  Your shot list should contain the sequential breakdown of what
you need to shoot for your film
 It should work in partnership with your storyboard
 It will be your working document when you film
 It should contain the shot number, scene number, shot
description, framing, cast/location info and action you will see
 It should also have information on performers in the scene and
other props, etc
 Shot list template is on Blackboard in the pre-production
folder.

23. Organisational Planning

24.  Include names, contact info, and defined roles at difference
stages of production, using a table is suggested

25.  The people that will be in the film are my self and my
girlfriend. I will be playing the main character and the killer
and my girlfriend will be playing the main character girlfriend.
I have a thought of back ups of some of my friends. I think I
have deemed the best choices because I would prefer to do it
my way then someone else who wouldn't quite understand how
I would like them to act. Also who better to play my girlfriend
then my actually girlfriend.

26.  Information and images of your location[s] for filming
 You should have address details, clearance/premissions for
filming, recce photos and floorplans [including camera,
equipment and cast/crew layouts]
 Where possible, have a plan B fallback location option
 Assess each location for any issues and suggest solutions

27.  The two locations that I will be using are my own house and the
village I live in. My village is called Tockwith and I live and
number 204. When it comes down to permission of filming of my
own house and village I do believe everything is fine. My plan b is
to film around York. But I doubt I will be using my plan b.

28.  Risk Assess each separate filming location using the provided
form in the pre-production folder on Blackboard and insert
into your powerpoint
 Completing a generic filming assessment would be a start,
then you can add specialist/site specific risks as you progress
your production
 Remember, a Risk Assessment is an ongoing document, you
should evaluate if anything changes in production and when
you put control measures in place

29. Risk Control Measure
Slips, trips and falls while using
equipment/looking through viewfinders.
• Ensure you are familiar with your
surroundings, any planned movements and
that the location is safe.
• Any camera movements should employ a
spotter for the camera operator, directing
the movement safely.
• I will be filming at night so I have to make
sure when I'm running around I'm safe and
know where I'm running.
Manual handling carrying equipment • Do not carry/move equipment beyond your
comfort level.
• Request help when transporting
equipment/share amongst crew.
• Adhere to manual handling methods for
carrying items.
• If being held in hands when following the
actors in shot make sure that the
equipment held safely.
Lost/stolen equipment • Do not leave any equipment unattended.
• Only give the equipment to people who are
trusted.
Electrical equipment, extension/data
cables and plugs- electric shock
• Do not touch any equipment that appears
faulty and report it to the tutor/technician.

30.  Things go wrong
 Your contingency plan is there to give you a backup or to
minimise the effect on production
 You should consider the following areas: Technical, Location,
Personnel and Organisational areas [about 5 potential issues
for each]
 Use the form in pre-production folder on Blackboard

33.  Provide an outline of what you will do on which days during
production

36.  The only props I will be using are a clown mas that I have, a couple
pieces of paper, ear phones and possibly a weapons. I can provide every
bit of costume and prop. When it comes down to moving the equipment
and the props and costumes I can take them from place to place by
driving my car.

37. Soundtrack Planning

38.  These are sounds in the environment, part of the ‘world’ your
character experiences – these can be recorded on location,
produced afterwards using foley techniques, etc. Some use of
royalty free sounds is permitted, but you must list their
sources and information
 Consider what you might need, how you are going to get it, etc
 The sounds that I will be using are more of just natural street
noise and I'm going to try get some night time street noise
with some wind. If I cant get the sounds when filming then I
will have to get them off YouTube or record them separately
from filming.

39.  These are the sounds/audio that the audience experiences, but
are not part of the ‘world’ of the character[s], this could be
music, sound cues, etc
 Consider where you are going to get these, only royalty free
sources and original content is permitted – please track your
sources
 When it comes to music I was planning on finding a few
sources where I could use some really good intense sounds. Or
what was thinking about getting some inspiration and then
making my own for the film.