This document provides a template and guidance for planning a student film project. It includes sections for idea generation, research, locations, equipment, personnel, visual planning through storyboards and shot lists, and organizational planning with schedules, risk assessments, and clearances. The template is meant to be adapted based on the specific production and includes prompts for the student to add relevant details about their planned fanzine project.

1. GENERIC
PLANNING
DOC
Herbie Nelson

2. GUIDANC
E
This template PowerPoint presentation
includes all the relevant elements you
should cover for a practical project. It
is not exhaustive, but provides some
guidance on stages, types of planning
and documents you should be
assembling. This is not a one size fits
all document, you will need to amend,
rejig and add/subtract sections
depending on what you are making.
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.
Delete this slide when complete

3. TASK 1
Idea Generation and Research

4. RESEARCH & IDEA
GENERATION
Use section to track your process of of generating ideas.
List and discuss the styles, techniques and conventions
that you have identified in your research. Explore how
you could approach the project using different methods
You can add any extra info you think is relevant, images,
mind maps, etc
For quick mind maps you could use bubbl.us
Make sure you assess the viability of ideas as well as the
potential for them creatively.

5. RESEARCH
Use this to summarise production research and existing
products from your previous investigations. Link this into
you idea generation and development.

6. The front cover for the fanzine 48 thrills
shows many popular bands during this time
for example the middle left we can see the
band name the clash which appears to have
been stuck on with another bit of paper. This
helps identifying which ones were created by
an individual and had no help from any large
publishing companies. The messy titles of the
bands would definitely tell us that the music
listed is in the punk genre as they were known
for rebelling against societies rules and going
against what they were told. The creators of
this fanzine have targeted the audience very
well as the bands highlighted on the front
page were very big during the time of the
mod revival so by having these large bands on
front covers its going to attract more of the
people who are interested in this music and
perhaps the mod culture. I cant really say
much about any production methods towards
this fanzine as it hasn’t been published by any
large company it has simply been individually
created by using pens and bits of paper stuck
on the front, I suppose I could say that the
scruffiness is a method of targeting the
certain audience as most young people during
the time of the mod revival were rebelling
against the countries politics and rules that
were being set.

7. I chose this fanzine to breakdown because out of the ones I have seen
so far this has lots of detail that explains many things about the mod
culture. On the far left we can see a woman who is wearing a large
collared top (most likely a dress) and has a sort of bob style haircut.
Mod women were feminists of fashion, they wore bright colours and
fabrics to fight against their parents politics. From this we already have
an idea of what style the women had and we know that the mods
weren’t just for men. On the right side of the page we can see a women
sitting on a scooter. The scooters were what made mods stand out,
aside from their army parkas and music taste the scooter was what
made a mod stand out from anyone else. Lambrettas and vespas were
the two main scooters mods drove as they were relatively cheap to buy
at the time and most importantly were nice to look at. Aswell as the
images of the fashion and scooters we can also see that there has been
no professional publishing work to this as it all looks handwritten and
hand drawn, this idea of it being individually created gives us a sense
that the people were creating these mod fanzines to show off their

8. POTENTIAL APPROACHES
The potential approaches to my work is that I will be
looking at different fonts

9. POTENTIAL TECHNIQUES TO
USE

10. CONVENTIONS OF YOUR
CHOSEN FORMAT/GENRE
YOU ARE WORKING TO

11. MIND MAP OF IDEAS
[SUMMARY OF IDEAS]
Mod fanzine
I will be adding my interview on a
page within the fanzine. The
interview will contain views on the
culture and potentially someone's
experience of being a mod during
the time
Instead of taking a full on modern
approach to my fanzine I will be
doing mix of old and new
information, including images.
Depending on which form I
create my fanzine whether it is
online or as an actual real print
will affect how it looks so I need
to decide quickly so that I can
plan out how it is going to look.

12. SUMMARY
opportunities of your ideas
• An opportunity for this idea is to improve on my creative skills whilst
creating the fanzine, I will be creating my fanzine digitally or as a real
print.
• I am able to create something that I have a huge interest in
• Through researching things like fanzines that have been made in the past
I can see how people who created them used different techniques to
attract audiences.
• Creating fanzines will improve my skills on editing software

13. SUMMARY
restrictions to your ideas
•I would say a big restriction to this idea is that not everyone will be
a fan of it as it doesn’t interest them.
•Another restriction to this idea is that it may be hard to find
certain fanzines about the topics as it was quite a long time ago.

14. FINAL IDEA – RATIONALE
Why this idea? Why this format? What skills do you have
that support this and what are you looking forward to
exploring more.
The reason for my idea is because I have massive interest
in mod culture past and present and I thought it would
be a challenge to use this interest to try and create a
modern fanzine about the life of being a mod and how
this subculture took over Britain. The reasoning for
choosing a fanzine was simply because it was not
something I had done before so I want to test my skills
when it comes to creating it. I would say I have some
artistic and creative skills when it comes to making
something I have a huge interest in. I am looking forward
to seeing how creative I can get with this project.

15. FINAL IDEA – CREATIVE
CONCEPT
What do you want to make, reference the look, style and type
of project. This could be a synopsis of the piece and some
visual reference points. Reference content and the themes you
are wanting to explore and resources that might help you to
achieve your aims.
So, for my final idea I want to make a fanzine about mod
culture. The look I will be going for is a mix between
fanzines from back in the 60s and late 70s all the way to
the 21st century, I want it to have a slight modern look
but then also for it to look original. I have many themes I
want to explore within my fanzine for example I am
going to add a section about who the mods were and
how they first came about. This is just one of the many
themes I will be adding. I will also be adding an interview
with someone who also has a huge interest and mod
culture and hopefully someone who was around during
the time of the mods.

16. TASK 2 Pre-production
Assessment

17. GUIDANCE:
PRE-PRODUCTION
ASSESSMENT
You need to assess the viability of your production and
investigate what is required to enable you to make it.
Much of this task is hypothetical, which means you will
need to investigate standard costings for such a
production and apply these to your planned production
considering which equipment you would need and
resources, etc
Resources to support this are on Teams.
Delete the questions on each slide and insert your
responses

18. TITLE OF
PRODUCTION/PRODUCTION
OUTLINE
Summary of intended production:
Detail here what you are going to make and the intended
outcome and what will be delivered [duration, format[s],
etc]
Specific outline your intended technical/equipment
requirements
Include any details that you think [you could use material
from a pitch]

19. LOCATIONS
You need to identify locations and plan a recce.
What are the limitations and risks, eg distance, access,
cost, weather? How will you manage this?

20. EQUIPMENT
What do you need? E.g. equipment, resources? Mostly
from college, but who do you need to speak to get this
kit? What is available? When?
Look at equipment hire places, etc

21. FACILITIES
Where will you edit your video? Do you need any other
specialist facilities…?

22. PERSONNEL
CREW: What is you team? Who is in it? What are each
team members strengths/weaknesses? When are they
available?
CAST: Do you need any external performers? When are
they available? Cost implications? Will you have to feed
them? Transport them?
Other personnel? Is anyone else helping you? Models?
Contributors? Interviewees?

23. PROPS/COSTUME/CONSUMAB
LES/ETC

24. FANZINE LAYOUT
1. Front Cover
2-3. Who are the mods?
4-5. MOD music and influences+interview
6-7. Years of the mod revival (bits of interview
incorporated)
8-9. MODS and the 21st century
10. Back cover

25. INTERVIEW
The person I will be interviewing – potential mod from the 60s
undecided/ my father
The reason for interviewing my dad is because he was a mod
during the time of the mod revival. Although he wasn’t a mod at
the time of the first ones he sure does have experience when it
comes to hanging around other mods. If I am able to interview
anyone who was a mod during the 60s then that will help
massively as I can gain more knowledge about how life was being
a mod.

26. TASK 3.1 Creative or Visual
Planning

27. PRE-PRODUCTION: VISUAL
PLANNING
This section is concerned with the visual/creative
planning of your production. This is WHAT you want to
make
You should use this section to develop what is it going to
look/sound like and establish what the visual design is
and the desired sequence.
It is important that you ‘pre-visualise’ the project before
you make it; it will make filming and production a more
streamlined process.
The following tasks should be part of your visual
planning, including:
 Pre-visualisation and concept boards
 Storyboarding
 Shot list
 Flat plans
 Colour plans

28. PRE-
VISUALISATION/CONCEPT
BOARDS
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
Extension suggestion: edit a 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]

29. CONCEPT BOARD

30. CONCEPT BOARD
DISCUSSION/EXPLANATION

31. MOVING IMAGE TEST/DRAFT
IMAGE TESTING
Remember to test methods, techniques and styles. Detail
them here and upload the finished video work to your
website as well. Add more slides as necessary

32. STRUCTURAL
BREAKDOWN/PLANNING
Breakdown your project into its basic sections and apply
broad visual and creative ideas to each section.
You can use this as the master template for your
production, then add more shots/pages, etc to each
section when you develop your full sequenced plan and
planned outcomes.
You should create a slide showing all the sections of the
project, then add a slide for each section with timings,
what happens visually and in terms of audio, page layout
aim to have as much specific detail as possible.
The structure of the project and method of doing this is
dictated by the type of project.

33. SHOT LIST - VIDEO
Your shot list should contain the sequential breakdown
of what you need to shoot for your video
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 and action you will see
It should also have information on performers in the
scene and other props, etc
Shot list template is on Teams.

34. STORYBOARDING - VIDEO
Your storyboard should bring your idea to life
Provide an idea of the sequencing of you video
Provides a basis for production visually
Remember, each frame should be as the camera frames it
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!

35. AUDIO AND OTHER PLANNING
Remember, video production is a multi-sensory medium,
do not forget your audio planning, whether this is for
spoken dialogue, VO/narration, sound effect or
soundtrack. This needs detailed planning, linking to
sequencing and sourcing/creating.

36. PRINT/NON-MOVING IMAGE
PLANNING
Rather than storyboarding and sequence planning, print
and still image projects require different image and
layout plans.
You should research conventions for your chosen
medium in your earlier work and then approach the
project using some of the methods you’ve discovered.

37. TASK 3.2 Organisational
Planning

38. ORGANISATIONAL PLANNING
If the visual and creative planning is the WHAT of the
production, organisational planning the WHO, WHAT,
WHERE, WHEN and WHY of the production.
This is the functional planning for the project, applying
common sense and organisation to your creative ideas.

39. PRODUCTION GROUP INFO
Include names, contact info, and defined roles at
difference stages of production, using a table is
suggested

40. LOCATION INFORMATION
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

41. LOCATIONS

42. RISK ASSESSMENT
Risk Assess each separate filming location using the
table in the camera H&S PP on Teams kit booking as a
starting point.
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
You should add the table to each call sheet for each
location

43. RISK ASSESSMENT

44. CONTINGENCY PLANNING
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

45. CONTINGENCY PLAN

46. PRODUCTION SCHEDULE
Your schedule should budget a total of 10 hours for
production, that is for the filming and editing of your
project.
You should plan when you’re filming and how you intend
to use the in class days on your timetable/class schedule

47. SCHEDULE

48. CLEARANCE AND
PERMISSIONS
Any place you film and anyone you use in the filming of
your video must have a completed form
Blank forms are on Blackboard for you to complete and
insert here