This PowerPoint template is designed to help plan a short film production. It includes sections for developing the story, visual planning, organizational planning, location information, risk assessments, schedules, and sound design. The document provides guidance on pre-visualizing the film through storyboards and shot lists. It also includes templates for call sheets, risk assessments, and contingency planning. Completing this template will help thoroughly plan all elements of the short film production before filming.

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

4.  Use the story development resource to help structure your short
film with more detail
 Not all the aspects have to be followed verbatim, use the
resource the plan out character, motivation, stakes and the arc of
your film, this will help to ensure that it works structurally
 Proforma is on bb
 Add a structural breakdown of each scene once you have done
this

5.  Short Film Story Development
 Title Mirror mirror in the Wardrobe.
 Genre Thriller/Horror
 What 3 visual conventions of your genre will you include?
 . De-saturated colour
 . Jump scares
 Fast editing

 What will you introduce early in the film to make the audience like/care about your character?
 The fact that my character will be acting in normal behaviour, like putting on make up, hair, etc. This will make my character more
relatable to the audience.
 What is the ending to your film?
 A jump scare, classic the conventions of a psychological thriller. (Evil twin popping up behind)
 Why is that your ending? What reaction are you hoping to elicit in the audience?
 I wanted to use this ending to cause a slight twist to captivate my audience I found this to be important because it is a key
convention of a psychological thrillers, So it is important to scare/jump the audience.
 What are the stakes for your character? What will happen if they don’t get what they want?
 It is more like my character is psychologically teased and scared, rather than a plot where she gets what they want. I choose to do
this as it I found it to be a more of a interesting plot than the generic story structure.


6.  What are the stakes for your character? What will happen if they don’t get what they want?
 It is more like my character is psychologically teased and scared, rather than a plot where she gets what they want. I choose to do this as it I found
it to be a more of a interesting plot than the generic story structure.
 3 Act Structure; Define each act
 Act 1 Make up scene, Wardrobe is harmless.
 Act 2 Strange noises to entice audience
 Act 3 Final scare.
 Dan Harmon’s Story Circle: Reference how your film follows it
 A character is in a zone of comfort- Character doing makeup in home.
 But they want something- Not necessarily, and that potentially my character is caught of guard with gradual scares.
 They enter an unfamiliar situation
 Whilst walking off hearing scary noises. (Increases tension more)
 Adapt to it
 After checking wardrobe, seeing nothing to harm, my character adapts to reality/normality again. (Walks off)
 Find what they wanted
 Opens wardrobe to see demented twin. (obviously scares twin)
 Pay its price
 Turns around and sees demented twin. For the final scare
 And go back to where they started
 Finishes on scare

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. or
section (e.g.
beginning, middle,
end, etc)
Approx timing What happens Visual notes Audio notes
Number 1 2 secs Starts with darkness.
Wardrobe opens, to twin
1.
Camera is as if it’s a
mirror
Slight tense music,
playing in the
background. Sound
effects of creaking door
Number 2 2 secs A shot of twin 1 looking
in the mirror doing make
up etc
Camera is as if it’s a
mirror
Slight tense music,
playing in the
background. Sound
effects of creaking door
Number 3 2 secs Twin 1 shuts wardrobe Shot of door shutting Music intensifies
Number 4 2 secs Shot of twin walking off Different shots of feet
and hands shutting and
walking
No sounds
Number 5 2 secs Loud bang Twin one freezes Big bang

9. Visual Planning

10.  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

11.  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!

15.  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.

17. Organisational Planning

18.  Include names, contact info, and defined roles at difference
stages of production, using a table is suggested
 Kate Oliver-Twin 2 (actress)
 Number-077935942807 Address- 32 Oxenby Place, Easingwold,
York.
 Charlotte Oliver-Twin 1 (actress, producer, editor, director)
 Number-01347821400 Address-32 Oxenby Place, Easingwold
York.

19.  Who is going to be in your film, how and why have they been
deemed your best choice? Do you have any backup options?
 Myself and my twin sister Kate Oliver, are acting within my piece.
I have chosen to do this because it is simply easier to do as we
live together and was perfect for my story line of evil sister etc.
 I have a back up option of using Olivia Groom, as she lives in my
area and has knowledge of editing and creating a movie.

20.  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

21.  Address details- 32 Oxenby Place, Easingwold.
Floor plan. For where filming will
take place.
This is the wardrobe that will be
key for my piece.
This room is where filming will
take place.
Back up plan I will use Olivia
Grooms house. (also in
Easingwold)
Camera
and Tri
pod

22.  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

24.  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

26.  Provide an outline of what you will do on which days during
production
 13/03/18- On this day I aimed to finish all my Pre-Production,
Research before filming I also booked my camera and equipment.
 14/03/18- I added final touches to my written work and prepared
my call sheet.
 15/03/18-Started filming my piece
 16/03/18- Editing and adding audio
(in the next week also)
Half term evaluation.

27.  Complete a call sheet for each production activity
 Forms are on Blackboard
 Insert into powerpoint here

29.  List, explain how you’ll acquire and provide an overview of
anything else you’ll need for your production – this is about
anything that isn’t cast, crew, technical equipment and
locations, but could be how those things will be moved to a
location, for example.
 Costume-For twin 1 and 2, they’ll both have matching
costumes to live up to the story line. I will ensure this
happens
 Props- I will place my own personal mirror in place.
My own wardrobe will also be used for filming.
The only thing I will put in place is the mirror within the
wardrobe, I will be assisted by my cast and crew for help with
this to ensure there is no health and safety issues.

30. Soundtrack Planning

31.  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
 You could reference
similar productions
and the effect of their
sound mix and
choices
Diegetic sound
These are sounds in the environment, part of the ‘world’
your character experiences.
-For example when my character opens the wardrobe
(creaking door) I could emphasise this sound during editing.
-Shuffling of feet toward the wardrobe, this can be heard by
my character.
The use of the key unlocking in the keypad within the
wardrobe. This also can be heard by the character.
-The loud ‘bang’ that is intended to scare a character.
However intend to emphasise this noise during editing.
-Noises of twin 1 picking up makeup and everyday uses.
This will not be edited.

32.  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
 You could also
produce your
own soundtrack
using
garageband
Non-Diegetic
-I intend to use creepy/scary royalty free music in the
back ground of my short film. I decided to use this
because my piece is non-scripted therefore the music
needs to be suited to the film. I can reach royalty free
music through forums such as YouTube.
-I also want to include my own sound effects/and music
that I have created myself. I can use garage band to do
this. This will also mean I don’t have to find
music/sound effects that are not royalty free.