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The document discusses project management tasks for a film production. It covers managing people through call sheets and scripts, managing resources like equipment and actors using booking forms and budgets, managing time with production schedules, and ensuring progress through schedules and production diaries. It also discusses keeping documentation like forms and footage organized, and managing risk with a risk assessment. Potential areas for improvement include allowing more equipment setup time, scheduling actors further in advance, improving budgets, and making storyboards more detailed.
Edit decision-list- appetite
The document is an edit decision list for a film shoot that contains 82 shots ranging from close ups to wide shots. It provides the shot number, timecode, take number, and whether each take was used or not used in the final cut. The majority of shots featured the second actor either walking, running or interacting with the main actor. Key shots that were used included shots of the main actor cutting open a heart and eating it, as well as shots of the second actor running through the trees.
Edit decision-list- appetite
The document is an edit decision list for a film shoot that describes 82 shots taken between various actors and scenes. It provides the timecode for each take, a description of the shot, and whether it was used in the final cut. Many of the shots were not used, while others spanning different scenes and levels of closeness were used to tell the story.
Script
Will invites a woman named Sarah to dinner after their date, but later murders her in a forest. Scenes show Will cooking a meal made from human remains. He is then seen calling another woman, Rachel, to invite her to dinner at his home on Friday, implying he intends to murder and eat her as well.
Production schedule s2
The production schedule outlines the shooting plan for Scene 2 taking place in a house kitchen. It details 40 shots ranging from close-ups of a heart being cut and organs being prepared to medium shots of the actor cooking, with timing for lighting setup, rehearsal, and each individual shot between 3:20pm and 5:25pm.
Production schedule s1
Laura Rollason has scheduled the production of scenes for the film "Appetite". Scene 1 takes place in a house and dining room. It involves setting up lighting and cameras from 6:20pm to 7:00pm and rehearsing from 6:45pm to 7:00pm. From 7:00pm to 8:00pm, several shots will be filmed of an actor sitting at a dining table and using items on the table like a phone, plate, and knife.
Production schedule s3
The production schedule outlines 24 shots to be filmed on location at Prestwood Road over 2 hours and 15 minutes. It begins with setting up lighting from 6:45-7:00pm followed by a short rehearsal. The various shots include medium shots of characters talking and walking, point-of-view shots looking through trees, close-ups of a character on a phone with blood on the screen, and a match cut at the end.
Booking form
Laura Rollason booked several pieces of equipment for her project titled "Appetite" from July 13-17, 2017, including a video camera, batteries, tripod, and microphone with an XLR cable.
Recommended
Evaluation
The document discusses project management tasks for a film production. It covers managing people through call sheets and scripts, managing resources like equipment and actors using booking forms and budgets, managing time with production schedules, and ensuring progress through schedules and production diaries. It also discusses keeping documentation like forms and footage organized, and managing risk with a risk assessment. Potential areas for improvement include allowing more equipment setup time, scheduling actors further in advance, improving budgets, and making storyboards more detailed.
Edit decision-list- appetite
The document is an edit decision list for a film shoot that contains 82 shots ranging from close ups to wide shots. It provides the shot number, timecode, take number, and whether each take was used or not used in the final cut. The majority of shots featured the second actor either walking, running or interacting with the main actor. Key shots that were used included shots of the main actor cutting open a heart and eating it, as well as shots of the second actor running through the trees.
Edit decision-list- appetite
The document is an edit decision list for a film shoot that describes 82 shots taken between various actors and scenes. It provides the timecode for each take, a description of the shot, and whether it was used in the final cut. Many of the shots were not used, while others spanning different scenes and levels of closeness were used to tell the story.
Script
Will invites a woman named Sarah to dinner after their date, but later murders her in a forest. Scenes show Will cooking a meal made from human remains. He is then seen calling another woman, Rachel, to invite her to dinner at his home on Friday, implying he intends to murder and eat her as well.
Production schedule s2
The production schedule outlines the shooting plan for Scene 2 taking place in a house kitchen. It details 40 shots ranging from close-ups of a heart being cut and organs being prepared to medium shots of the actor cooking, with timing for lighting setup, rehearsal, and each individual shot between 3:20pm and 5:25pm.
Production schedule s1
Laura Rollason has scheduled the production of scenes for the film "Appetite". Scene 1 takes place in a house and dining room. It involves setting up lighting and cameras from 6:20pm to 7:00pm and rehearsing from 6:45pm to 7:00pm. From 7:00pm to 8:00pm, several shots will be filmed of an actor sitting at a dining table and using items on the table like a phone, plate, and knife.
Production schedule s3
The production schedule outlines 24 shots to be filmed on location at Prestwood Road over 2 hours and 15 minutes. It begins with setting up lighting from 6:45-7:00pm followed by a short rehearsal. The various shots include medium shots of characters talking and walking, point-of-view shots looking through trees, close-ups of a character on a phone with blood on the screen, and a match cut at the end.
Booking form
Laura Rollason booked several pieces of equipment for her project titled "Appetite" from July 13-17, 2017, including a video camera, batteries, tripod, and microphone with an XLR cable.
Appetite script
Will invites a woman named Sarah on a date and then to his home for dinner. However, his intentions are sinister - he kills Sarah and uses her body as the main ingredient in the meal he serves. After eating the meal, Will crosses Sarah's name off a list and calls another woman, Rachel, to invite her to dinner as well. The short film depicts Will as a serial killer who lures women on dates with the intention of killing and eating them.
Booking form
Laura Rollason booked several pieces of equipment for her project titled "Appetite" from July 13-17, 2017, including a video camera, batteries, tripod, and microphone with an XLR cable.
Call sheet-no 2
This call sheet provides production details for the film "Appetite" including the location, scenes to be shot, cast and crew members. The film will be shooting two scenes - an outdoor conversation between a male and female character that turns violent. The call sheet lists the director, producer, locations and equipment needed as well as transportation, parking and medical details for the shoot.
Call sheet-no
This document is a call sheet for the film "Appetite" produced by Laura Rollason. It provides production details such as the location, scene details, cast and crew information. One scene will be filmed at Frederick Road in Wednesfield involving a male character entering a dining room and preparing food in the kitchen. The call sheet lists the director, producer, production manager and contact details as well as requirements for cameras, lighting and transportation.
Budget sheet1
This document contains an equipment budget and crew costs for a production. The equipment budget lists the items needed including cameras, lighting, and audio equipment totaling $2539. The crew costs section lists the roles, day rates, and number of days needed for the production manager, camera operator, gaffa, spark, sound mixer, and others, totaling $7628. The overall total cost of equipment and crew is $10167.
Production schedule s3
The document outlines a production schedule for filming Scene 3 of a project called "Appetite" on Prestwood Road. It details the arrival time, lighting setup, rehearsal, and various shots that will be filmed of two actors (A and B) interacting on the street and then (B) being attacked by (A) in the evening. Makeup, lighting adjustments and additional shots of (A) with (B) on the ground are also scheduled.
Production schedule s2
The document outlines a production schedule for filming Scene 2 of a project called "Appetite". It details the timing for setting up cameras and lighting, rehearsals, and shooting various shots of an actor in a house and kitchen from 3:20pm to 6:25pm. These shots include medium shots, close-ups, and points-of-view of the actor walking, reaching in the fridge, cooking, eating, washing dishes, talking on the phone, and holding a knife.
Production schedule s1
The production schedule outlines the filming of Scene 1 for the movie "Appetite". It details the shots planned for the dining room, including close-ups of the actor's hands, reaching for a prop, and lighting a candle, as well as medium shots of the actor moving around the room, putting a cover on the table, walking to the table, and sitting at the table. The lighting and camera will be set up from 3:20-3:45 pm and rehearsal will take place from 3:45-4:00 pm.
Schedule full sheet1
The document outlines the production process for a film over three stages: pre-production involving script writing, casting, location scouting, and design work in the first 5 days; production consisting of 4 days of filming, effects, and crew work; and post-production in the next 15 days including editing, sound, visual effects, music, and screenings.
Risk assessment 2
This document identifies and assesses trip hazards, falling objects, and assault risks for an outdoor film shoot location. Trip hazards like cables will be secured or moved, and equipment will be put away when not in use to reduce risks of falling and injury. Falling objects from lights, props, and cameras will be minimized by ensuring equipment is stable and secured, and a first aid kit will be on site. An adult will supervise outdoor scenes and each crew member will have a phone in case of emergency, as the location is near a school and emergency services.
Risk assessment
Working with sharp tools and knives poses a risk of slight cuts. To reduce this risk, blunt or fake props will be used in close contact shots and a first aid kit will be on site. Tripping hazards from cables or equipment pose a risk of negligible bruising. Cables will be taped down and equipment stored away when not in use to reduce these risks. Falls from moving objects like lights, props, or cameras could cause slight cuts or bruises. Equipment will be secured and on flat surfaces, and a first aid kit will be available. Use of candles and matches poses a slight risk of minor burns. Flames will be attended and on non-flammable surfaces, with loose clothing banned and fire extingu
Risk assessment2
This document contains a risk assessment form used by the BBC to evaluate potential hazards and risks associated with productions. It includes a general risk assessment form with sections to outline the production details, identify hazards from a provided list or others, and determine risk levels. It also includes a risk assessment form for individual activities with sections to list hazards, those exposed, initial risk level, control measures, and residual risk level once controls are implemented. The forms are used to methodically evaluate risks and implement controls to minimize risks for cast, crew and others involved in BBC productions.
Risk assessment
This document contains a risk assessment form used by the BBC to evaluate potential hazards and risks associated with productions. It includes a general risk assessment form with sections to outline the production details, identify hazards from a provided list or others, and determine risk levels. It also includes a risk assessment form part B to list individual activities, identified hazards for each, those exposed, initial risk level, control measures, and residual risk level after controls are implemented. The forms are used to plan for safety and minimize risks to cast and crew during recording productions.
Ethnic representation video
This document discusses representations of different ethnic groups in video games. It begins by outlining some common stereotypes, such as white males often being protagonists while black characters are commonly criminals. It then examines specific stereotypes of Asian, Hispanic/Latino, white, Native American, and black characters. For example, Asian characters are often portrayed as intelligent warriors while Hispanic characters frequently have tattoos related to gangs. The document also provides examples of games that employ these stereotypes and analyzes the controversial game "Ethnic Cleansing" in more depth. Finally, it examines representations of the characters Clementine, Lee, and Glenn from "The Walking Dead," finding that while some stereotypes are present, this game
Star wars micro analysis
- The document analyzes elements of mise-en-scene in the film Star Wars: The Force Awakens, including location, lighting, props, costumes, and actor movements.
- Key locations include desert planets associated with Rey, ruins associated with Kylo Ren, and a forest where Rey hides but is vulnerable.
- Lighting uses colors like blue and red to identify good and villainous characters, and shadows create tension.
- Iconic props like lightsabers further define characters, and stormtrooper costumes make them anonymous and numerous.
- Costumes also clearly identify characters with colors like white for Rey and black for Kylo Ren and stormtroopers.
- Character movements establish
Star wars micro analysis
The document provides a detailed micro analysis of the mise-en-scene elements in Star Wars: The Force Awakens. It discusses how the locations, lighting, props, costumes, actor's movements and camera work are used to develop characters and advance the plot. The forest setting isolates Rey and builds tension during her pursuit by Kylo Ren. Kylo Ren's all-black costume and voice altering helmet dehumanize him to portray him as the villain. Sound design uses diegetic and non-diegetic elements to immerse the audience and link scenes together chronologically.
Saw micro
The short film Saw is set in a derelict industrial factory and hospital. David awakens trapped in the factory with a bear trap on his face. Through instructions from the villain Jigsaw on a television, David must find the key to the trap or it will activate. The contrasting hospital setting provides no escape from David's trauma. Editing uses rapid cuts to build tension as David searches desperately. The film's techniques isolate and manipulate the character to terrify the audience.
Micro analysis woman in black
The document discusses techniques used in horror films and analyzes a scene from The Woman in Black. It notes that:
1) The scene establishes tension through diegetic sounds like a creaking rocking chair that get louder as the character gets closer, putting the audience on edge.
2) Shot types like close-ups are used to convey the character's fear and allow audiences to empathize with him, while wide shots show the vulnerable open space he must cross.
3) The pacing of shots and camera movements create a sense of apprehension and frenzied searching as the character tears at the wallpaper, mirroring his state of mind.
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Appetite script
Will invites a woman named Sarah on a date and then to his home for dinner. However, his intentions are sinister - he kills Sarah and uses her body as the main ingredient in the meal he serves. After eating the meal, Will crosses Sarah's name off a list and calls another woman, Rachel, to invite her to dinner as well. The short film depicts Will as a serial killer who lures women on dates with the intention of killing and eating them.
Booking form
Laura Rollason booked several pieces of equipment for her project titled "Appetite" from July 13-17, 2017, including a video camera, batteries, tripod, and microphone with an XLR cable.
Call sheet-no 2
This call sheet provides production details for the film "Appetite" including the location, scenes to be shot, cast and crew members. The film will be shooting two scenes - an outdoor conversation between a male and female character that turns violent. The call sheet lists the director, producer, locations and equipment needed as well as transportation, parking and medical details for the shoot.
Call sheet-no
This document is a call sheet for the film "Appetite" produced by Laura Rollason. It provides production details such as the location, scene details, cast and crew information. One scene will be filmed at Frederick Road in Wednesfield involving a male character entering a dining room and preparing food in the kitchen. The call sheet lists the director, producer, production manager and contact details as well as requirements for cameras, lighting and transportation.
Budget sheet1
This document contains an equipment budget and crew costs for a production. The equipment budget lists the items needed including cameras, lighting, and audio equipment totaling $2539. The crew costs section lists the roles, day rates, and number of days needed for the production manager, camera operator, gaffa, spark, sound mixer, and others, totaling $7628. The overall total cost of equipment and crew is $10167.
Production schedule s3
The document outlines a production schedule for filming Scene 3 of a project called "Appetite" on Prestwood Road. It details the arrival time, lighting setup, rehearsal, and various shots that will be filmed of two actors (A and B) interacting on the street and then (B) being attacked by (A) in the evening. Makeup, lighting adjustments and additional shots of (A) with (B) on the ground are also scheduled.
Production schedule s2
The document outlines a production schedule for filming Scene 2 of a project called "Appetite". It details the timing for setting up cameras and lighting, rehearsals, and shooting various shots of an actor in a house and kitchen from 3:20pm to 6:25pm. These shots include medium shots, close-ups, and points-of-view of the actor walking, reaching in the fridge, cooking, eating, washing dishes, talking on the phone, and holding a knife.
Production schedule s1
The production schedule outlines the filming of Scene 1 for the movie "Appetite". It details the shots planned for the dining room, including close-ups of the actor's hands, reaching for a prop, and lighting a candle, as well as medium shots of the actor moving around the room, putting a cover on the table, walking to the table, and sitting at the table. The lighting and camera will be set up from 3:20-3:45 pm and rehearsal will take place from 3:45-4:00 pm.
Schedule full sheet1
The document outlines the production process for a film over three stages: pre-production involving script writing, casting, location scouting, and design work in the first 5 days; production consisting of 4 days of filming, effects, and crew work; and post-production in the next 15 days including editing, sound, visual effects, music, and screenings.
Risk assessment 2
This document identifies and assesses trip hazards, falling objects, and assault risks for an outdoor film shoot location. Trip hazards like cables will be secured or moved, and equipment will be put away when not in use to reduce risks of falling and injury. Falling objects from lights, props, and cameras will be minimized by ensuring equipment is stable and secured, and a first aid kit will be on site. An adult will supervise outdoor scenes and each crew member will have a phone in case of emergency, as the location is near a school and emergency services.
Risk assessment
Working with sharp tools and knives poses a risk of slight cuts. To reduce this risk, blunt or fake props will be used in close contact shots and a first aid kit will be on site. Tripping hazards from cables or equipment pose a risk of negligible bruising. Cables will be taped down and equipment stored away when not in use to reduce these risks. Falls from moving objects like lights, props, or cameras could cause slight cuts or bruises. Equipment will be secured and on flat surfaces, and a first aid kit will be available. Use of candles and matches poses a slight risk of minor burns. Flames will be attended and on non-flammable surfaces, with loose clothing banned and fire extingu
Risk assessment2
This document contains a risk assessment form used by the BBC to evaluate potential hazards and risks associated with productions. It includes a general risk assessment form with sections to outline the production details, identify hazards from a provided list or others, and determine risk levels. It also includes a risk assessment form for individual activities with sections to list hazards, those exposed, initial risk level, control measures, and residual risk level once controls are implemented. The forms are used to methodically evaluate risks and implement controls to minimize risks for cast, crew and others involved in BBC productions.
Risk assessment
This document contains a risk assessment form used by the BBC to evaluate potential hazards and risks associated with productions. It includes a general risk assessment form with sections to outline the production details, identify hazards from a provided list or others, and determine risk levels. It also includes a risk assessment form part B to list individual activities, identified hazards for each, those exposed, initial risk level, control measures, and residual risk level after controls are implemented. The forms are used to plan for safety and minimize risks to cast and crew during recording productions.
Ethnic representation video
This document discusses representations of different ethnic groups in video games. It begins by outlining some common stereotypes, such as white males often being protagonists while black characters are commonly criminals. It then examines specific stereotypes of Asian, Hispanic/Latino, white, Native American, and black characters. For example, Asian characters are often portrayed as intelligent warriors while Hispanic characters frequently have tattoos related to gangs. The document also provides examples of games that employ these stereotypes and analyzes the controversial game "Ethnic Cleansing" in more depth. Finally, it examines representations of the characters Clementine, Lee, and Glenn from "The Walking Dead," finding that while some stereotypes are present, this game
Star wars micro analysis
- The document analyzes elements of mise-en-scene in the film Star Wars: The Force Awakens, including location, lighting, props, costumes, and actor movements.
- Key locations include desert planets associated with Rey, ruins associated with Kylo Ren, and a forest where Rey hides but is vulnerable.
- Lighting uses colors like blue and red to identify good and villainous characters, and shadows create tension.
- Iconic props like lightsabers further define characters, and stormtrooper costumes make them anonymous and numerous.
- Costumes also clearly identify characters with colors like white for Rey and black for Kylo Ren and stormtroopers.
- Character movements establish
Star wars micro analysis
The document provides a detailed micro analysis of the mise-en-scene elements in Star Wars: The Force Awakens. It discusses how the locations, lighting, props, costumes, actor's movements and camera work are used to develop characters and advance the plot. The forest setting isolates Rey and builds tension during her pursuit by Kylo Ren. Kylo Ren's all-black costume and voice altering helmet dehumanize him to portray him as the villain. Sound design uses diegetic and non-diegetic elements to immerse the audience and link scenes together chronologically.
Saw micro
The short film Saw is set in a derelict industrial factory and hospital. David awakens trapped in the factory with a bear trap on his face. Through instructions from the villain Jigsaw on a television, David must find the key to the trap or it will activate. The contrasting hospital setting provides no escape from David's trauma. Editing uses rapid cuts to build tension as David searches desperately. The film's techniques isolate and manipulate the character to terrify the audience.
Micro analysis woman in black
The document discusses techniques used in horror films and analyzes a scene from The Woman in Black. It notes that:
1) The scene establishes tension through diegetic sounds like a creaking rocking chair that get louder as the character gets closer, putting the audience on edge.
2) Shot types like close-ups are used to convey the character's fear and allow audiences to empathize with him, while wide shots show the vulnerable open space he must cross.
3) The pacing of shots and camera movements create a sense of apprehension and frenzied searching as the character tears at the wallpaper, mirroring his state of mind.
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