Cast & crew for a video production
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This document discusses planning the cast and crew needed for a video production. It explains that there are two types of people needed: talent/contributors who appear on camera, and crew who fulfill technical roles behind the scenes. Examples are given of talent like actors, presenters, and interviewees. The document then provides examples of different crew job roles like a director, camera operator, and sound engineer. It instructs readers to identify the specific cast and crew needed for different hypothetical production projects.
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Pre-production planning is essential for any video project. It involves planning key aspects like ideas, equipment, time, locations, cast and crew, finance, legal issues, and creative elements. Specifically, the document outlines that pre-production requires determining the who, what, when, where details of a shoot; creating a production schedule and milestones; budgeting costs; securing necessary permissions and insurance; researching suitable filming locations; arranging equipment rentals; and addressing any legal matters like consent forms. Thorough pre-planning is needed to ensure a successful and smooth production.
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The document discusses important considerations for planning film shooting locations: suitability, safety, and permission. It notes that locations must be suitable for the script in look, accessibility, cost, and ability to commute or find accommodation. Safety concerns include safe access, dangers, making locations safe, and insurance. Permission requires determining land ownership, contacting owners, and obtaining proof of approval. Proper planning involves location research, visiting locations, risk assessments, and signed permission documents. Two example tasks are outlined for practicing assessing suitability, permissions, and risk assessing locations for a news story about declining city center shopping.
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This document provides an overview of pre-production planning for video projects. It discusses the key elements that must be planned such as ideas, equipment, time, location, cast and crew, finance, legal issues, and creative elements. The learner will begin writing a theory assignment on planning and research for different types of video productions based on their experiences planning various short films and videos. They will have until May 22nd to complete and submit the assignment.
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The document discusses the pre-production process for a television show and the various job roles involved. It uses the Buffy the Vampire Slayer episode "The 'I' in Team" as an example to illustrate the typical 6-week production cycle for a television episode. Students are tasked with choosing 3 scenes from the episode and outlining the pre-production requirements and jobs that would need to be completed for each scene from different production departments. The document provides guidance on choosing scene types and evaluates how well pre-production planning contributes to the success of delivering the final product.
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The group had two weeks to plan their urban drama film project. They brainstormed ideas and settled on an urban theme to showcase their creativity. Storyboarding and scheduling helped structure the production. Editing techniques like shot reverse shot, match on match action, and the 180 degree rule were employed to improve continuity and help the audience follow conversations and action. Mise-en-scene and sound design were also considered.
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2) The research helped the author gain skills in filming, creating title sequences, and adding titles to products. It provided ideas for additional shot types to include in the final production.
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Btvs job roles example
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Three key pre-production roles and tasks are discussed for scenes from the Buffy the Vampire Slayer episode "The I In Team": ideas generation and writing, location selection and set design, and special effects or visual effects planning. Pre-production for a scene set in Xander's basement involved planning from the writing team and selecting recurring props and costumes. Another scene set in the woods required locating a filming location, procuring permits and equipment, and choreographing a fight sequence. Pre-production ensures scenes are properly planned, permitted, and can be shot to fit the creative vision.
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Presentation4
The document reflects on the learning process from a preliminary task to the final product. It discusses progressing from only using three camera shots to utilizing a wider range of shots and angles. Familiarizing themselves with the equipment in the preliminary task helped them better complete the final product. They also learned important editing tools in iMovie that improved the quality and realism of the film opening, such as transitions, fonts, colors, and sound. Creating suspense was a focus through techniques like tense music, varying shot speeds, and a dark color scheme.
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Ranvir Jandoo reflects on what was learned from the preliminary task of filming a conversation between two characters to the full production. Some of the key technical skills learned include shot-reverse-shot filming, match cuts to ensure continuity, and following the 180 degree rule. Additional lessons included different camera shots, editing techniques using Final Cut Pro, and the importance of good communication and collaboration within the film production team.
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This document provides information about storyboarding for music video production. It defines a storyboard as a sequence of drawings representing the planned shots for a video production. Storyboards are created during pre-production and used by the director, cinematographer, camera operators, and lighting technicians on set to plan shots and ensure continuity. The document instructs students to begin creating a storyboard for their music video by drawing the planned shots and including relevant information like framing, camera movements, and shot descriptions.
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From the preliminary task to the full product, the filmmakers learned:
- To better prepare through research into genre conventions and incorporating them.
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- That the end product was more sophisticated than the preliminary task and took longer to plan and conceptualize.
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This document is a personal skills audit that evaluates the skills used to create a product. It discusses the use of digital technology like Photoshop and cameras to produce professional-looking materials. Post-production software like Final Cut and iMovie were used to edit footage quickly. Research included viewing other products, films in specific genres, and analyzing conventions. Planning with storyboards helped smooth production. Conventions from analyzed noir films were directly inspired in creating a neo-noir work. Creativity balanced conventions with imaginative ideas. Areas of further development include learning new software and analyzing additional references.
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Modes of documentary
This document discusses the different modes or categories of documentary films. It begins by explaining that modes are used to classify documentaries based on how they present the truth and interact with their subjects. Five main modes are identified: interactive, expository, observational, reflexive, and performative. Examples are given of famous documentary filmmakers like Michael Moore and David Attenborough, comparing how their styles differ. Each mode is then defined in more detail, explaining its key features and examples. The document concludes by assigning students a task to research and define one of the modes in more depth.
Film script - workshop
This document outlines the key points from a screenwriting workshop lesson. It discusses recapping screenwriting rules before continuing work on screenplays. By the end of the lesson, students should apply screenwriting techniques to produce part of a professionally presented screenplay. The document defines action verbs, explains their importance for driving narratives forward in screenplays, and provides guidance on formatting, spelling, grammar and peer reviewing screenplays.
Content for film producers
This document discusses the different elements that filmmakers use when producing, filming, and editing films. It identifies audio elements like dialogue, music, and sound effects. Visual elements include different types of footage, framing, camera movement, and color correction. The type of content needed depends on the type of video being produced, such as a news piece or stop motion animation. Elements like music, lighting, and language style can affect how viewers respond. As filmmakers, we should control how we use content throughout the production process from filming to editing.
Screenwriting simple concepts - level 2
The document provides instructions for a screenwriting workshop where participants will:
1) Develop 3 story concepts using idea generation strategies and apply the concept of "a person, in a place, doing his or her thing".
2) Conduct initial research on each concept.
3) Pitch their best concept to the group and receive feedback to improve their ideas.
4) Further develop their concepts by considering the "moral" of the story and how it will end.
Screen writing research portfolio
Screenwriting requires thorough research to add depth, realism and avoid cliches. Research covers events, characters, settings, histories, cultures and more. For the sample project "The Cell," set in a Rio de Janeiro prison, research should include conditions inside prisons, living standards, architecture and legal issues affecting the prison system. A research portfolio with primary and secondary sources is required, along with a one page report summarizing findings and how it influences the screenplay. Good research helps strengthen storytelling and screenwriting.
Single camera lesson 1
This document provides instruction for a lesson on evaluating writing through peer assessment. Students will evaluate a classmate's assignment by identifying where they described, explained, or evaluated topics and whether they used examples. They will receive feedback and use it to improve their own assignment. The goal is for students to understand the difference between describing and explaining/evaluating, be able to assess these elements in peer writing, and learn how to strengthen their work through feedback before final grading.
Research reporting
This document provides information about conducting research for video productions. It discusses different types of research including production, audience, creative, and market research. The goals of research are to gather information that enriches creative ideas, identifies the target audience and their wants, and understands what competitors are doing. Research findings should be summarized by introducing the research topic and purpose, presenting results graphically or in summarized themes, analyzing conclusions from each result, discussing the impact on production planning, evaluating source reliability, and stating main conclusions.
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Unit 8: Task 2
Producers oversee all aspects of film production from development through completion. They assemble the cast and crew and are responsible for the film's success or failure. There are no formal qualifications required but experience as an assistant is recommended. Producers work irregular hours, often freelance, and their median salary is around £45k per year.
Unit 8 task 2 (1)
The document discusses several roles involved in film production including director, screenwriter, producer, and editor. It provides examples for each role and describes their responsibilities. The director oversees the visual interpretation of the screenplay and works with the production team. The screenwriter writes the script. The producer manages the business aspects and ensures resources are available. The editor assembles the raw footage into the final cut. It also describes how the roles typically collaborate and are overseen by a production company.
Exploring the Differences Between Directing a Documentary and an Action Movie
Directing a documentary and an action movie are two completely different experiences. Documentary filmmaking requires a director to capture real-life events as they happen, while action movie directing requires the director to create a story and direct actors in scenes that are not real life.
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The document discusses the roles of several key creative positions in filmmaking - the director, screenwriter, producer, and editor. It provides examples for each role and describes their typical responsibilities and involvement at different stages of production. It also discusses qualifications for the roles, average salaries, and how the different creative positions typically work together on a film project under the supervision of the production company.
Production Booklet
The document provides details for the production of a short film titled "The Uninvited". It includes sections on the type of production (horror/thriller), a proposal form outlining the narrative, finances and funding sources, a timeline, personnel roles, required facilities and equipment, materials, contributors to the production and their roles, potential locations for filming, results from market research on audience preferences, and legal issues and codes of practice. The production will be a horror film involving being chased through the woods, and will be made with a small student crew and budget.
Working in the creative industry matthew hackett final
The document discusses career opportunities in the UK media industry. It describes various sectors like film, television, radio, animation, games and publishing. It then focuses on the film sector and lists many jobs involved in film production, distribution and exhibition. These include producers, directors, camera operators, sound recordists, editors, designers and more technical roles. It discusses contracts like full-time, part-time, freelance work and provides tips for finding work like networking, websites, interviews and gaining experience.
Unit 19 (done)
This document provides information about various roles in the film and television industry, including screenwriters, producers, directors, script editors, agents, and corporations. It discusses the responsibilities of screenwriters, such as proper formatting, time management, collaboration, and considering legal and ethical issues like copyright and bias. It also describes the roles of producers in overseeing projects, directors in interpreting scripts, and script editors in ensuring continuity. Agents represent clients, and corporations produce and distribute finished works. Overall it outlines the production process and responsibilities of various creative roles.
Unit 19
This document provides information about various roles in the screenwriting and filmmaking process and considerations for screenwriters. It discusses commissioning editors who look for new projects, producers who oversee projects from conception to completion, and directors who are responsible for interpreting the script. It also covers corporations that distribute finished works, script editors who ensure continuity, and organizations that help develop writers' scripts. Legal and ethical considerations for screenwriters like copyright, censorship, plagiarism, and bias are also addressed.
Unit 19
Commission editors aim to build up a publisher's list by identifying commercially viable books and media products. They do this by reviewing proposals from authors, ensuring scripts are in the proper format, and managing their list of titles. Producers oversee projects from conception to completion, working closely with directors and crew. Directors are responsible for interpreting the writer's vision and helping actors and crew realize it. Organizations help screenwriters develop scripts and provide feedback to improve their writing.
Screenplay Commissioning
This document provides an overview of the screenwriting process, from writing a script to getting it commissioned and made. It discusses finding an agent to represent your script, getting it read by development executives and script readers, and undergoing rewrites based on their feedback. The key steps are writing an initial draft, getting representation, pitching it to producers, undergoing reviews and revisions, and potentially being commissioned to expand the script if it is well-received. Collaboration is emphasized as essential to adapting a script into a produced work.
Irn bru pro forma
This document provides information about the role of a film/video editor. It explains that editors work closely with directors to lead a team in editing films. Editors need creativity to place sounds and footage, and must work well under pressure to meet deadlines. They require experience with equipment, storytelling skills, and the ability to lead a team. Organizational skills are also important. Income ranges from £18,000 for starters to £45,000 for highly experienced editors. A bachelor's degree, demo reel, and experience in the industry are required to become an editor. Basic editing skills involve software like Final Cut Pro, and most editors start with volunteer work. Freelancing is common. Gender has not been a
Unit 19
This document provides an overview of different roles in the film industry such as commissioning editors, producers, directors, script editors, and agents. It discusses various options for script writers to get their work produced, such as large Hollywood studios, independent production companies, or organizations like the BFI and BBC. The document outlines important considerations for script writers, including properly formatting scripts, working with agents, communicating with producers, managing deadlines, and the royalty structure. It also discusses legal and ethical issues like copyright, avoiding plagiarism, ensuring unbiased content, and dealing with censorship from producers.
Unit 19 learning aim
Unit 19 discusses the process of becoming a script writer and the responsibilities involved. There are many jobs in the film industry such as commissioning editors, producers, directors, script editors, and agents that script writers can work with. Writers must present scripts in the proper format and work to meet producer demands and deadlines. As a writer, it is important to trademark scripts to prevent plagiarism, avoid bias and misinformation, and be aware of censorship guidelines. Writers are also responsible for the legal and ethical considerations of their work.
Final task evaluation
This document evaluates a horror film project that uses a game show format to follow characters battling in a competition. It summarizes the key points covered in the evaluation:
1) The film challenges horror film conventions by using the game show format and allowing the audience to develop bonds with different characters.
2) The opening sequence establishes the CCTV style that will be used throughout the film. It features two main characters, one black and one mixed race, to represent different social groups.
3) The film would be distributed by an independent film institution due to its smaller budget and similarities to other independent horror films.
4) The target audience is 15-25 year old urban males and females based on the genre
Unit 4 Skills Audit Soap Opera
Chelsie Brandrick completed a skills audit template to assess her abilities for producing a soap opera. She has experience shooting and editing a single-camera drama previously. Her college education helped develop skills like punctuality, communication, and organization that would be valuable as a production team member. Key roles needed include a director to oversee the vision, a producer to choose actors and oversee the project, three camera operators, multiple actors, and an editor to honor the director's vision and assemble the final product. Chelsie has experience using equipment like cameras, tripods, microphones during filming and Final Cut Pro X for editing. The soap opera would require multiple cameras, microphones, and Final Cut Pro X for editing.
Job Roles Presentation
The document discusses various jobs in the TV and film industries. It describes jobs in management, creative, non-creative, financial, and maintenance departments. Specifically, it provides details on the roles of casting directors, financial controllers, assistant editors, and catering crews. Casting directors work to find the right actors for roles and negotiate contracts. Financial controllers oversee production budgets and accounting. Assistant editors support the editing process and running of the cutting room. Catering crews provide food for long-working film crews on location shoots.
Jordan Rules 1 of 5
The document outlines 9 rules for ensuring a good user experience on a website or application. It discusses testing and adapting the layout, technology, messaging, and interactions. It also covers prioritizing user flows over information, writing copy for skimming, setting expectations for users, helping users find what they're looking for through search or browsing, and helping users determine what they are looking for in the first place. For each rule, it provides further explanation and examples.
Task 2 unit 8
All of the creative roles discussed work together on a film or television production, with the screenwriter first writing the script, the director then overseeing the entire production, the producer managing budgets and other business aspects, the editor assembling the final cut, and all of these roles requiring support from other roles like assistants to complete their work and bring the creative vision to life on screen. Effective collaboration between all of these roles is essential for a successful production.
Role of Writer and the Commissioning Process
The document outlines various roles involved in the film and television production process such as writers, directors, producers, agents and commissioning editors. It describes the typical responsibilities and tasks associated with each role as well as average salaries. Commissioning bodies that hire writers are also discussed, including large corporations, independent production companies, independent directors/producers and film organizations.
Factual programming brief theory
This document provides instructions for a student assignment on factual television programming techniques. The student has been hired as a freelance video journalist and will research, film, and edit news stories.
The assignment involves understanding the codes and conventions of television news broadcasts and documentaries. Students must produce a report explaining the elements of TV news such as studio anchors, field reporters, and actuality footage. They must also analyze documentary formats, techniques for achieving realism and narrative, and issues of impartiality and bias. Research notes and a written report or podcast are due by the specified deadline and will be graded based on criteria for the unit.
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Week 3 - research workshop
This document provides guidance on conducting production research for a TV magazine show on knife crime in Coventry. It outlines the key components of a good individual research portfolio, including thorough subject research on knife crime trends, potential guest contributors and their backgrounds, and possible filming locations. Researchers are instructed to write up their findings in a shared research portfolio document with clear headings, grammar checks, and grouped information to help the crew understand and utilize the research. The first task is to create and share this portfolio, then begin detailed subject research and find at least four potential guest contributors to interview.
Research - TV studio project week1
This document provides an overview of a TV studio project that teaches students how to conduct factual TV productions. It outlines that students will learn research skills, planning VT productions, pitching ideas, learning studio equipment, and completing test screenings. It then details the first lesson on production research, explaining the importance of facts, different types of primary and secondary research, and giving examples of researching knife crime in Coventry.
Socialactioncommunitymediaintro 170307205212
This document provides an introduction to a unit on social action and community media. It discusses the meaning of key terms like social action, community, and community media. The unit will involve students researching and creating their own social action program in the form of a video or radio show to bring about social change. Examples are provided of different types of social action videos, including public information films, charity videos, community videos, and political broadcasts. Students are tasked with analyzing 4 such videos to understand their aims, techniques used, and effectiveness.
Multi camera filming lesson
This document discusses multi-camera filming techniques. It begins by explaining the difference between multi-camera and single-camera filming, noting that multi-camera involves filming a scene from multiple angles simultaneously using overhead lighting, while single-camera takes more time setting up individual shots. The document then discusses advantages of multi-camera for factual TV productions, as it allows getting complete coverage of events in one take without reshoots. Examples of formats using multi-camera include live sports, concerts, debates and awards shows. Finally, it notes documentary filming is sometimes single-camera while studio productions generally use multi-camera to capture multiple presenters and contestants.
Floor managing
Floor managers are responsible for managing the busy studio floor and keeping the live show running smoothly. They communicate clearly with guests, presenters, the director, and gallery to address any issues and ensure everyone is doing their job. As the most senior person on the floor, the floor manager needs to remain in control and use clear, direct verbal and physical communication to give instructions to the crew and make sure the show stays on track.
Hnd planning an insert
The document discusses a lesson on producing a magazine show, including practicing equipment operation, examining intro/outro structure, and scripting a rough intro. Students will understand multicamera script format, produce a simple intro script, and use studio equipment. They will watch an intro example, analyze a sample script, and complete tasks to script and plan their own intro while gaining experience in the TV studio workshop.
Soundtrack planning workshop
This document provides guidance for students working on planning and recording soundtracks for interactive films. It informs students that they have 4 weeks to complete the project and outlines different planning tasks they need to undertake, including creating audio, foley, and ADR plans and finding props. Students are instructed to identify remaining work and record foley if possible. The goal is for students to make progress on their individual soundtracks through planning and recording work.
Fmp workshop
This lesson focuses on continuing to plan and edit the student's short film. The student must identify what creative and organizational planning remains to be completed before filming. Specifically, the student must identify what work is still needed for their filmmaking project, should edit any film rushes in video editing software, and could apply planning and creative skills to complete outstanding tasks. The document provides questions to guide the student in assessing what planning still needs to be done, such as storyboarding, shot lists, scheduling filming dates, and booking equipment. The student is asked to identify responsibilities, remaining planning tasks, unfinished video edits, and any filming yet to be completed along with planned dates.
Sound Design theory recap
The document discusses various concepts in sound design for film including different types of sounds like ambient noise, dialogue, and sound effects. It defines diagetic vs non-diagetic sounds and external vs internal diagetic sounds. It also discusses parallel vs contrapuntal sound and how silence is used in films. Students are tasked with continuing to write an essay analyzing the sound design of at least two scenes from a film by applying these sound design concepts and answering questions about how specific sounds are used to create mood, tension, and realism.
Soundtrack lesson 2
The document discusses how sound is used in film to create mood, meaning, and tension through different sound elements. It instructs students to analyze how the opening scene of A Quiet Place uses sound design to set mood and build tension. Students are then tasked with analyzing two film scenes to compare how sound is used to create these elements and with producing soundtracks as foley artists and sound designers for segments of their interactive films.
Soundtrack lesson 1
This document provides an overview of diegetic and non-diegetic sound in film. It defines diegetic sound as any sound that characters in the film can hear from within the film's world, such as dialogue, sound effects, and ambient noise. Non-diegetic sound includes any sounds added by the editor that characters cannot hear, like music and narration. Examples are provided of different types of diegetic sound, like external diegetic sound that the audience can hear but not see. The document also discusses how sound designers can use music that is parallel or contrasting to the visuals. Students are assigned tasks analyzing the uses of diegetic and non-diegetic sound in the opening scene of Sin City.
Documentary week 4: Waltz With Bashir
We will watch the documentary "Waltz With Bashir" this week and analyze what conventional documentary techniques Ari Folman uses, such as interviews and reconstructions, compared to other filmmakers. After viewing, there will be a class discussion.
Documentary week 5
Documentary has evolved across different mediums. Traditionally, documentaries were consumed through radio broadcasts, magazine and newspaper photography, and films shown on television. Now, the rise of streaming platforms and podcasts has changed where audiences listen to radio documentaries. Photographs are commonly viewed online, altering the relationship between viewers and images. Video on demand has impacted documentary structure by allowing flexible viewing. Emerging technologies like virtual reality now provide interactive documentary experiences through apps and headsets.
Documentary 3: Documentary Forms
The document outlines six types of documentaries categorized by American film theorist Bill Nichols:
1. Poetic documentaries focus more on feelings and mood through images and sounds rather than narrative.
2. Expository documentaries aim to inform and persuade audiences through authoritative narration, often seen in nature documentaries.
3. Observational documentaries observe subjects with minimal filmmaker interaction, giving an authentic first-hand view through a "fly on the wall" approach.
4. Participatory documentaries include the filmmaker who may influence events, raising questions about truth and balance.
5. Performative documentaries share the filmmaker's personal stories in a wider social context, also
Documentary 2: the history of British documentary
1. The British Documentary movement began in the 1920s-1930s led by John Grierson who used documentary films to promote British trade but also showcased working class life.
2. The Free Cinema movement of the 1950s-1960s produced low-budget documentaries that focused on realistic depictions of ordinary people's lives, moving away from propaganda and upper-class focus.
3. Both movements aimed to use film to address social issues and represent everyday experiences, though Grierson and his units also had government promotional objectives at times. They helped shift British films towards kitchen sink realism.
Jump Cuts 1
The document provides information about an upcoming film production challenge called "Jump Cuts". Students will work in small groups to write, plan, film, and edit a 2-minute short film based on the theme of "hunter" that is due in mid-November. They will need to submit pre-production materials like a script, storyboards, shooting schedule. The short film must not contain any dialogue. Students are instructed to come up with 3 simple story concepts and develop a 7-point narrative plan for each during the workshop.
Short film
In this workshop, students will develop concepts for 3 short film ideas through research and apply idea generation strategies. Over the next 3 weeks, they will work in small groups to produce a 2-minute short film based on the theme "Hunter" for the Jump Cuts film festival. Students must submit pre-production documents and their film cannot contain dialogue. The workshop emphasizes keeping ideas simple and realistic given the time constraints. Students should be prepared to work outside of class time to complete filming by mid-December.
HND Film: Documentary, an introduction
What is a documentary?
What is at the heart of every documentary?
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The document discusses developing ideas for a final major project (FMP) video. It provides guidelines for different video formats - short film, music video, documentary, and public information film (PIF). The student is instructed to identify which format best aligns with their career goals, then brainstorm 3 simple concepts that fit the chosen format. They will then pitch their initial ideas to the class.
Film Narrative & concept: an introduction
This document provides an overview of narrative structure for filmmaking. It defines key concepts like narrative, plot points, and 3-act structure. For 3-act structure, it compares a narrative to a burger split into setup (act 1), conflict (act 2), and resolution (act 3). Plot points mark turning points at the end of each act. It also discusses linear vs. non-linear narratives and uses the film Arrival as an example to identify its narrative elements.
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Cast & crew for a video production
- 1. People power How to plan for your cast & crew
- 2. What did we learn how to plan last week?
- 3. We’re going to learn about the different people we need for a production, and how to find them. This week
- 4. Talent & contributors There are 2 types of people we need for a production… Crew
- 5. Actors Presenters Guests on a TV show Interviewees on the news Anyone who we want in front of the camera. They will not be fulfilling a technical role. What do we think talent & contributors might be?
- 6. In the industry we will normally audition for talent, or find them through research. We can use websites such as casting call pro or mandy.com to advertise for actors and presenters. Where can we find talent?
- 7. A casting director will audition prospective actors, feeding back to the producer & director
- 8. What do actors want in return for being in your video?
- 9. Who are the crew?
- 10. What different job roles are there on the crew?
- 11. If we were planning to make The Muppets: The Movie 2 which of these would we need? or What do we need to think about when deciding what crew we need?
- 12. A big action film will probably need: The crew you need will depend on the requirements of your production Armourer Helicopter pilot
- 13. whereas a TV gameshow will need… The crew you need will depend on the requirements of your production A vision mixer A TV presenter
- 14. Working in pairs you will need to plan the cast and crew you would need for 2 different projects: 1. An action thriller set in Victorian England…. 2. A daytime chat-show for BBC One…. Task
- 15. For each member of cast & crew you think you need, write a paragraph explaining the skills they have and why you need them. Use the link to creative skillset to look at different film job roles
- 16. Working alone write up a side of A4 explaining the different types of people a video production needs, explaining the difference between talent & crew, and identifying the key skills of different job roles. Task 2