Film-Making Producing
Film-Making Producing
Film-Making Producing
Charlotte Worthington
film-making
01
producing
v
administrating the financial
and managerial aspects of
a film or broadcast, or the
staging of a play, opera, etc
BASICS
film-making
Producing
01
Charlotte Worthington
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Gone
A film still from the short drama Gone.
Director: Oliver Graham
Producer: Camilla Boschiero
Photographer: Luigi Bertolucci
2–3
Contents
6–7
How to get the most out of this book
8–9
Introduction
86–91
Production
92–93
Post-production
94–95
Case study: The producer/
director
4–5
168–171
124–125 140–141
Daniel and Jesse Quinones
Post-production Production
– Cold Calling
126–127 142–143
Case study: Post-production
172–173
The creative producer
144–149 Conclusion
An example weekly
174–175
magazine programme
Glossary
150–151
176
Case study: The executive
Acknowledgements
producer
and credits
How to get the most out of this book
Headings
Help the reader to quickly
locate a topic of interest.
Below the line all the costs to Live transmission (TX) a programme Proposal a brief document that Broadcaster an organisation that
technically make the film. Usually paid broadcast to the audience as the event includes a description of the project, distributes programme content to a
on a weekly or daily basis happens. Eg football matches, royal its intended audience and why it public audience. Eg BBC, Sky, NBC,
Gallery production control room events etc should be made Fox and Channel 4
within a television studio Script the written plan and dialogue Programme format a packaged Commissioning body an organisation
The producer
for a film or programme programme idea such as ‘Big Brother’. that offers finance and support to
Pitch a short description of programme makers
a programme idea
Pre-production 118–119
Subheadings
± Shooting schedule Remember, as mentioned earlier, when
principles discussed
location together. Plan to shoot exteriors
in the script are going to be shot,
first then move inside to interiors.
maximising time, money and resources.
Once the script has been broken down Work out the length of each working day.
Images
commitments that they are two characters sitting at a table will tend
already contracted to) to take less time to shoot. The more
• Availability of key locations complicated the scene, the longer it will
• Any night shoots take to rehearse, set up and shoot.
• Union regulations on length
of days/night shoots
• Any special effects
It is possible to use scheduling and
budgeting software that links into A range of photographs,
Final Draft. For more information, see
Captions
Continuity stills
· Organise transportation crew to set up and to clear up Continuity stills are used in order
· Negotiate cast contracts · Start with an easy day. This is to record how a scene looks at the
· Oversee and distribute relevant especially beneficial for your actors beginning and end of a scene. These
can then be referred to if it needs to
paperwork – eg call sheets · Be realistic about what you can be re-shot at a later date.
· Organise stock achieve in a day
· Organise catering
· Oversee risk assessments
Case studies
Case study: The executive producer 150–151
Feature practising
± Chris Downham What does that involve?
‘I RELY ON PEOPLE TO DO producers and their
Chris works for CSI Sports and has This involves a presenter and guests
been responsible for an extensive range
of sports programming for the English
Football Association, FIFA, the Football
providing analysis of the events prior
to the game and afterwards. We have a
two-camera studio, a small gallery and a
THEIR JOBS PROPERLY. working methods in
Contents > How to get the most out of this book > Introduction
IF A RESEARCHER GETS
order to help put their
League and UEFA, as well as long-running studio team of approximately ten people.
sports highlights and magazine shows.
During his four years producing ‘World
Football’ he was part of the team that made
What do these people do?
THEIR FACTS WRONG IT’S
roles into context.
There are two cameramen, a set
it into television’s most widely watched
soccer show, reaching 160 broadcasters
and 200 countries worldwide.
designer, a director, producer, autocue
operator, make-up artist, sound engineer, NOT GOOD.’
vision engineer and a runner. There is
also an Avid editor working with another
What do you do?
producer providing cut-picture content.
I’m Head of Programming at an independent
production company, which specialises Who are the key people in your team? What can go wrong? What do you like doing best and why?
in a range of sports content. My company
In short, everyone is important. Everyone Any number of things can go wrong. For Making good-quality programmes that
represents a number of major sporting
is there for a reason and if one person example, the presenter can fluff their are technically well made, thoughtfully
federations and commercial clients. The
doesn’t do their job properly the lines or say something unexpectedly, produced and creative. I’d like the
type of work we cover involves producing
programme suffers. which could be libellous. The script can viewer to feel comfortable, interested
programming around live sporting events
be wrong, I rely on people to do their and hopefully a little excited about
An example weekly magazine programme > Case study: The executive producer
creative is in the presenter’s contribution I have ever worked with learnt on the job.
to support these events during the week have to think on their feet and provide
and their personality. Most people start as runners or work in
and then producing the live event on leadership.
TV ops and basically work their way from
Saturday and Sunday. At the moment we
This is also a people business and the bottom up.
are producing live studio programming
you need to be able to manage people
around these events, which are broadcast
to get the best out of them. A little
on TV and the Internet.
encouragement goes a long way.
Navigation Quotes
Provided to help the Have been highlighted
reader find his or her way within the text to
around the book. emphasise insightful
comments for the reader.
Introduction
± Producing drama
THE PRODUCER
So what exactly does a producer do? It should be noted that in the world of
bigger-budget productions the producer
The producer may have developed and
will work closely with a production
pitched an original idea to a broadcaster.
manager on a daily basis. Essentially,
He or she may have raised finance from
the production manager will not become
a range of sources to fund the project.
involved in any creative or editorial
Alternatively, a production company may
decision making, but will liaise closely
have hired a producer once a programme
with the producer to deliver a project on
has been commissioned. Whatever the
time and within an agreed budget. It is
situation, the producer is the person
the producer who will have meetings with
responsible for holding a project together
the writer, the commissioning editor or
from start to finish, delivering the project
the executive producer. In short the role
on time and on budget. It is a tough and
of the production manager is to oversee
demanding role requiring an ability to
the smooth running of all practical
make important decisions, often under
aspects of production.
challenging circumstances.
A producer needs to be highly organised,
In low- or no-budget productions the
motivated and knowledgeable about all
producer will often be required to
areas of production. As well as taking
take sole responsibility for both the
responsibility for all editorial decisions,
creative and administrative areas of the
such as final script approval and hiring
production. When confronted by the
key production team members including
challenges of having little or no money at
the director and the production manager,
his or her disposal, the producer will be
the producer needs to be confident and
required to be creative and inventive to
grounded with a good knowledge of the
get the most out of available resources.
financial, legal and technical aspects
The producer may need to personally
of production. He or she also needs
organise and transport equipment, cast
to be able to manage a team and build
actors, recce locations as well as make
trust, taking overall responsibility for
sandwiches and cups of tea for cast and
the project and any problems that may
crew members on the shoot. This can be
arise. In the end the buck stops with the
exhausting and stressful. Where possible
producer.
the producer should try to delegate
responsibility in order to prevent burning For useful websites providing information
out and making mistakes. on training, visit: www.npa.org.uk,
www.globalfilmingschool.com,
www.film-connection.com and
www.ec.europa.eu/information_society/
media/index_en.htm.
The producer
12–13
Managing a team
The producer is responsible for
The role > Different types of producer
CREATIVITY
KEY SKILLS
A
GOOD
INTERPERSONAL
SKILLS
COMMON SENSE
THE ABILITY TO
FORWARD THINK
The producer
14–15
COMMUNICATION
NEGOTIATION
GOOD JUDGEMENT
ORGANISATION
OF
PRODUCER
THE ABILITY TO
PROBLEM SOLVE
RESILIENCE
The role > Different types of producer
A SENSE OF HUMOUR
Different types of producer
Running glossary
Below the line all the costs to Live transmission (TX) a programme
technically make the film. Usually paid broadcast to the audience as the event
on a weekly or daily basis happens. Eg football matches, state
Gallery production control room events etc
within a television studio Script the written plan and dialogue
The producer
The role > Different types of producer > The production process
the programme, ensuring production.
that the overarching
concept, tone and style
of the programme is
being delivered.
Running glossary
Before you can understand the From the student film to the most
specific responsibilities of being a complex broadcast productions, they
producer, you will need to have an all tend to follow these key stages:
overview of how a project gets on to
the screen. This section will outline
each stage and what is specifically
required of the producer. EXHIBITION
POST-PRODUCTION
The producer
PRODUCTION
IDEA
KEY STAGES OF
A PRODUCTION
PRE-PRODUCTION
DEVELOPMENT
18–19
Different types of producer > The production process > The production team
The production process
Professional tips
story or characters?
· Is there an audience or market
for the film?
20–21
Different types of producer > The production process > The production team
Starting point/tips
± Pre-production
Different types of producer > The production process > The production team
Professional tips
Shooting on location
Although a producer will not
be directly involved in making
decisions about the creative
direction of a shoot, it is their
responsibility to ensure that the
creative vision can be achieved
The producer
± Production
Different types of producer > The production process > The production team
Running glossary
Edit suite
The edit suite is where the film
footage is edited into the finished
film or programme.
Professional tips
Different types of producer > The production process > The production team
The production process
Running glossary
Different types of producer > The production process > The production team
The production process
± Sound post-production (sound dub) All television and film productions are
a combination of both video and audio;
Once the pictures have been edited
put simply, a combination of sound and
there is yet another crucial stage of
pictures. One without the other will
post-production to be negotiated before
compromise and diminish the quality
the product is truly finished. This is to
of production. The importance of audio
create a final soundtrack. Before track
track laying, mixing of the sound and final
laying the soundtrack will usually contain
lay back on to the master tape should not
only the dialogue and sound recorded
be underestimated.
on-set or on location. More often than
not the recording levels will be uneven Sound and sound design are very
and a voice-over may be needed. Music creative aspects of film-making and the
and sound effects may also need to be acquisition of good quality sync sound
added. This stage is called the ‘sound during filming is a vital aspect of the
dub’ and takes place when all the process. Unfortunately, these areas are
separate soundtracks for effects, music often overlooked by student film-makers,
and voice-over are laid down and finally either because of a lack of experience
mixed to create the final soundtrack for or as a result of the pressures of filming.
the finished film. This can lead to poor sound recording
and a lack of attention to detail in post-
production. This oversight can have a
dramatic impact on the quality of the final
film. Setting aside enough time to create
a sound design is extremely important
and should always be factored in.
Professional tips
horizontal lines
30–31
Different types of producer > The production process > The production team
M and E track means that the project
programme delivery is not considered
can be made available for international
complete until the broadcaster or client
distribution. With an M and E track
accepts the finished show.
any foreign language broadcaster may
overdub their language using the clean
audio M and E track to make a final new
mix.
Running glossary
Distribution
Distribution is a vital part of the film-
making process. It is essential that
the film is seen by as many people
as possible.
Starting point/tips
· Publicity stills
· Short cast and crew biographies
32–33
What’s the point of all the hard work, the The final responsibility of the producer
sleepless nights, and the stress if the will be to tie-up any loose ends and
programme is not seen? It is essential to close down the production office.
remember the film should be seen by as They will need to check all bills have
many people as possible. Some projects been paid, send out publicity copies
will have a predetermined market, such and deal with any queries.
as a broadcaster. Others will have been
produced as part of college work or as
a calling card to the industry to advance
the career of a budding producer or
director. Whatever the background to
the project they all need some form of
distribution and exhibition.
Different types of producer > The production process > The production team
budget to cover the costs of this stage of
production. This will help pay for making
extra copies, film festival entry fees and
press kits.
Running glossary
Both the TV and film industries have During the shoot, members of the
traditionally operated on hierarchical production team will be working closely
lines. All members of the production with the crew. Depending on the type
team have tended to have very closely of production the crew can vary in size
defined roles and responsibilities. from just a single camera person and
However, technology is moving fast sound recordist to a crew the size of
and the arrival of lighter cameras and a small army.
delivery platforms are encouraging
Key roles that may be found in the
multi-skilling and self-shooting. Today
production team include:
one person alone can often direct,
produce, shoot and edit a project.
CASTING DIRECTOR
Must fi nd suitable actors
for the project and work
LOCATION MANAGER
closely with the director
and producer in pre- Finds locations and
production. organises access as
necessary.
The producer
34–35
Starting point/tips
A basic crew will include the following · Camera assistant: assists the shoot by
members: doing activities such as preparing and
· Director of photography: labelling tapes
(also known as a DoP or camera · Sound recordist: responsible for the
person/lighting camera person) recording of all sound
36–37
THE BASICS
Synopsis
Lois Weber
A favourite song, a clip from a feature There are international treaties such
film or an iconic photograph… as the Berne Convention, which have
harmonised the complex variety of
When a film-maker makes the creative
legislation. Creative Commons is a new
decision to include material from other
form of licensing aimed predominately at
sources such as music, photographs
work showcased on the Internet. It allows
or film footage in their film, the issue
work to be shared, copied or distributed
of copyright and potential copyright
under specific conditions decided by the
infringement is raised. There can be
creator of the work. It is something to be
serious legal and financial implications
aware of and may be relevant to some
for a producer if they use any material
types of production. Further details can
in the project that belongs to someone
be found at: www.creativecommons.org.
else without first negotiating a licence
or permission. If a programme-maker More information on copyright can be
decides to use certain footage or music found at: www.ipo.gov.uk,
they will need to receive permission or www.wipo.org and www.copyright.gov.
pay for the right to use it in their film.
It should be noted that an idea in itself
Copyright laws protect the writer, cannot be copyrighted, but the way the
musician, artist and film-maker from idea is expressed can, as in a script with
others using and exploiting their work dialogue and specific characters or a TV
without permission. A producer should programme format.
be thoroughly grounded in copyright
law and methods of clearing copyright.
Conversely, the law will also protect your
work from being exploited by others.
Producer greats: Lois Weber > Copyright > Legal, ethical and practical issues
Copyright
There are various copyright issues
to consider as a producer, and
each country has its own set of
laws and limitations. It essential
for the producer to be familiar
with these laws and to ensure
compliance with them.
Copyright
In some cases material may have no Fair dealing (also known in the USA
recognisable owner and is described as ‘fair use’) allows limited and tightly
as being in the public domain. This controlled use of copyrighted material
material may be used without a licence in certain circumstances, such as news
or permission. Material will be in the reporting, criticism, review or private
public domain if the copyright has study. There are restrictions on the use
expired or the owner has deliberately of material, including the proportion of
put it into the public domain (a notice the material that can be used in relation
will be placed with the material indicating to the length of the programme, that the
this). Certain government or public body source is sufficiently acknowledged,
material is free of copyright, such as and that the work was previously made
footage from NASA’s space missions available to the public. In countries such
(see www.nasa.gov). as the UK, copyright law is complex
and ultimately it is the producer’s
The producer must be absolutely
responsibility to always ensure copyright
certain and thoroughly research that
is not being infringed. If unsure, take
this is the case before including it in
legal advice.
any production.
Producer greats: Lois Weber > Copyright > Legal, ethical and practical issues
Professional tips Starting point/tips
± Privacy
Any filming with children (broadly A producer must seek the consent of a
defined as a person under the age of contributor, preferably in writing or on
18), paid or unpaid, is closely regulated camera. There will be some situations
and will require permission from several when certain individuals will not be in a
authorities. Apart from the parents or position to give their informed consent.
legal guardians, the local education They may be vulnerable individuals,
authorities and school also have to terminally ill or critically injured patients,
be closely consulted. There are also or the recently bereaved. It is the
regulations and restrictions on how long producer who will normally have to
a child can be on-set. The producer will decide whether to film people incapable
need to make provision for the education of giving their permission and whether or
and well-being of the child during filming not it is appropriate to continue filming.
and organise an appropriate chaperone.
Copyright > Legal, ethical and practical issues > Health and safety
Sound
When a location is chosen, attention
should be given to how it sounds.
The basics
The producer must ensure the safety of Be ready for rain, wind and snow.
the cast, crew and members of the public Weather can have a dramatic impact
at all times. A detailed risk assessment on the best-laid plans of the production
must be produced for each location and team when on location. Consulting a
is often a requirement before filming five-day weather forecast can flag up
permission is given. All crew should wear any potential problems, thus allowing a
reflective vests when shooting after dark, well-prepared production to fall back on
at sporting events and when shooting on alternative arrangements for the shooting
the public highway. days, such as shooting indoors.
Official police permission must be sought It goes without saying that any location
if any street filming involves firearms, must be respected and left in the
nudity, replica uniforms or emergency condition in which it was found. Nurturing
service vehicles. and maintaining a good professional
reputation in the business is essential.
Sound You never know if and when you may
need to use the location or deal with
A location is primarily chosen for its
its owners again. Also, good practice
visual look and size. Attention should
enables other production teams to work
also be given to how it sounds. A
there after you.
thorough recce of a location will indicate
any problems with acoustics, such as Many towns and cities have local
creaky floors and extraneous sound, authority film commissions or offices
such as busy roads, flight paths, factories that can give comprehensive advice and
Copyright > Legal, ethical and practical issues > Health and safety
and schools. Having to stop and start support to all professional and novice
filming because of sound interruption film-makers.
slows down the schedule and can cause
problems in the edit.
Running glossary
are minimised.
filmnetwork/legalguidehealthandsafety.
48–49
Legal, ethical and practical issues > Health and safety > Shooting formats
assessment form.
Starting point/tips
16
Fundamental budget questions: Shooting formats > Budget > Exhibition and distribution
· How long is each stage of the
production? Is it months, weeks
or days?
· Who is needed, when and for
how long?
· Can money be saved?
Budget
± The budget basics The budget should also have money set
aside to cover any cost overruns. This is
The budget is a financial assessment
called ‘contingency’ and it is usually 5–10
outlining how much the film is actually
per cent of the budget.
going to cost. In development, the
budget can be used to reassure potential It is also essential that the budget
investors. During production it may be includes money set aside to cover
used as the blueprint to gauge whether the cost of insurance. The insurance
the project is on course or drifting into will need to cover both the equipment
financial difficulties. A good starting and fulfil the legal requirements of the
point for a novice producer is to production. University and colleges may
understand the structure of a budget. well have their own policies to cover
Essentially, every budget is split into student productions.
two parts; these are the ‘above-the-line’
A budget can run to many pages, each
costs and ‘below-the-line’ costs.
with complicated and detailed costings.
Above-the-line costs are the script The first, perhaps most important,
and rights, the producer, the director page of the budget is called the top
and cast. They are usually paid a flat, sheet (opposite page). This summarises
negotiated fee. at a glance the overall budget. It will
show above- and below-the-line costs,
Below-the-line outlines all the costs
subtotals of all production categories,
needed to technically make the film.
contingency, insurances and finally
These costs are usually paid on a
the grand total.
weekly or daily basis.
Within the budget, each heading is
expanded into a detailed budget,
which breaks down the costs of each
department or category with a subtotal.
This will be explored in more detail in
Chapters Three, Four and Five.
Page 16
EP Budgeting
Budget Title :
Script Dated : Producer :
Budget Draft Dated : Director :
Production # : Location :
Start Date : Prepared By :
Finish Date :
Total Days :
Post Weeks :
Holidays :
Travel Days :
Acct No Category Description Page Total
815 STORY AND RIGHTS 1 0
825 PRODUCER'S UNIT 1 0
835 DIRECTOR'S UNIT 1 0
845 CAST 2 0
855 ABOVE-THE-LINE FRINGES 2 0
Total Above-The-Line 0
919 EXTRA TALENT 2 0
921 PRODUCTION STAFF 3 0
923 CAMERA DEPARTMENT 3 0
925 STILL PHOTOGRAPHY 4 0
927 ELECTRICAL DEPARTMENT 4 0
929 GRIP DEPARTMENT 4 0
931 PROP DEPARTMENT 5 0
933 PRODUCTION SOUND 5 0
935 WARDROBE DEPARTMENT 5 0
937 MAKE-UP AND HAIR 6 0
939 SPECIAL EFFECTS 6 0
941 SET OPERATIONS 6 0
943 STAGE/MOBILE UNIT RENTALS 7 0
945 SET DESIGN 7 0
947 SET CONSTRUCTION 8 0
949 MINIATURES 8 0
951 SET DRESSING 8 0
953 TESTS 9 0
955 2ND UNIT 9 0
957 PROCESS SHOTS 10 0
959 PRODUCTION RAWSTOCK & DEV 10 0
961 TRANSPORTATION 10 0
963 PROP VEHICLES & ANIMALS 10 0
965 LOCATION EXPENSES 11 0
Storyboards
The director conveys how he
or she visualises the film to
the rest of the team through
the use of storyboards.
These can be used to inform
the production process.
Budget
CALL SHEET
PROD. CO: ……………………………………TITLE: BAXTER’S ISLAND
DIRECTOR: Laurence Park Timmons PRODUCER: Anita Lewton
Date: 27/01/05
CALL SHEET 1
NO
Producers and production mangers can Organisation is essential for the smooth
use computer budgeting and scheduling running of any production. Whether or
programmes that manage the process. not you have access to a production
It is worth looking at EP Budgeting and office, the producer will need to make
Movie Magic. However, the software sure the production is well organised. It’s
is expensive and for a low-budget a good idea to keep a detailed production
production a budget and schedules can file for all the relevant paperwork. The
still be drawn up manually. producer should also ensure that all
rushes/tapes are numbered, labelled and
For more information, see:
kept in one safe place. Ideally, this will be
www.entertainmentpartners.com.
in the same location as the film is being
edited. A logging notebook should be
kept with them too.
Professional tips
Production file
The production file is an essential tool
in the organisation of the production.
It contains all relevant paperwork,
which can be easily accessed as and
when required.
Exhibition and distribution
Getting the project seen widely or There are several ways programmes and
distributed to as large an audience films can be exhibited and distributed:
as possible is the final stage of the
• Theatrical: this is another term for
production process. Recouping the
cinema release
financial cost of making the project is
• Non-theatrical: can include institutional
an essential part of the producer’s job.
markets where programming is
If a broadcaster or production company
needed for educational or instructional
has funded the project, they will, in most
purposes, such as schools, prisons
cases, meet the cost of publicity and
and libraries
the marketing of the project. It is the
• Exhibition: such as film festivals
producer’s responsibility to make sure
• DVD distribution
that the necessary contracts and publicity
• Television: network, satellite
materials have been delivered along with
• Internet and other digital formats
the master tapes of the programme.
– eg mobile phone.
Starting point/tips
· Music cue sheet list and timings For more information about distribution
of all music used in a production and marketing, see:
· Aspect ratio size of the screen www.withoutabox.com.
image
The basics
Publicity stills
These stills for Baxter’s Island were
used as part of the publicity pack.
Producers: Corazon Films and Conroy Park
International, and Anita Lewton
Director: Laurence Park Timmons
66–67
PRODUCING
DOCUMENTARY
The first two chapters of this book have been designed
to lay down the basic building blocks needed to
understand the role of the aspiring producer. It has
been an attempt to sketch out the responsibilities of the
producer’s job. From this point onwards this book will
explore in greater detail the producer’s role in making
documentary, drama and magazine-type content.
Hair
There are many ways to tell stories
and make films, and Hair, a short
documentary about a London
hairdresser, is just one of them.
Producer greats: Susan Frömke
Producing documentary
68–69
Synopsis
Susan Frömke
Producer greats: Susan Frömke > The team > Documentary styles
Documentary production
Observational documentary
film-making requires only a small
crew and can comprise of as few
as one person. This allows a more
intimate exploration of the subject,
as well as making the most of the
financial constraints associated with
producing documentaries.
Documentary styles
A producer should be aware that there There are of course many ways to tell
are a number of different types of a story and the documentary medium
documentary film-making. He or she will is constantly evolving. Although not a
need to have definite ideas as to the film’s definitive list, the following illustrates
approach – the tone, style and focus of the main categories:
the developing project. The approach or
• Sport
style may be dictated by the film’s market
• Observational
or the available slot on a TV channel.
• Science
Early on in the production process the • Travel
producer should have a clear idea of the • Political
type of documentary being made. He or • Drama documentaries and
she will have firm ideas about subject reconstruction/recreations
matter, participants and shooting style. – docudrama
Another way of understanding this is • Archival – using third-party
to think of the approach; how the story or stock footage
gets to the screen and how the film is • Historical.
going to look.
Producing documentary
72–73
Documentary styles
There are many different styles of
documentary film-making. Cage
Fighter is an example of a sport
documentary (see Chapter Six:
The team > Documentary styles > Development
Learning Curves).
Development
• Organise research
• Develop and write a proposal
• Check access and rights to story/
characters where relevant
Producing documentary
Starting point/tips
· The producer needs to know early · The research may also involve experts
on how easy it will be to involve in their field to highlight interesting and
people in the project. For obvious relevant information. This allows key ideas
Once the preliminary research has The proposal will include a description
been completed the raw content can of the project, identify the key
be developed into a proposal and then participants, and argue why the project
a treatment. should be made. The most important
consideration for a producer when
The proposal will be the key selling
writing this document is that it needs
or pitching document for the project.
to be compelling. It needs to tell a good
A producer will always be required to
story. It should also be remembered that,
explain the project right through to final
fundamentally, we are discussing a visual
delivery, but this is the stage when the
medium. The documentary is not merely
pitch opens the door.
a vehicle for a conversation or a lecture.
The proposal should always present what
The proposal should indicate the length
can often be complex or sensitive ideas,
of the production period and outline any
in a compelling way. The writing needs to
preliminary production plans. It should
be simple and direct. It should catch the
identify the intended audience and,
eye, ear and imagination of whoever is
where relevant, include any letters of
reading it. It is a way of envisaging a film
support or agreements for contributors
before it is made.
to be involved. This will help give an
indication of the project’s viability.
Treatment
E
This film will attempt to highlight the realities of post-natal depression (PND) as told through
the diary of a sufferer. Although the woman doesn’t physically experience all the different
theories behind the cause of the problem or the associated remedies, the film will,
nonetheless, explore these and talk to the people behind them and those that have
benefited.
Transmission
The film will be suitable for transmission to an evening audience on either BBC2 or Channel
4 – accessible science! The aim is to get away from the commonly held view that PND is
either a trivial by-product of childbirth or a woman-only issue and to educate a wider
audience about the social impact on the whole family unit – including men.
Treatment
The story will be told from a first-person point of view – with voices of different, anonymous
women speaking – this could be extracts based on my diary.
It will be introduced at the beginning by X – she will talk about how her life has changed
since the publication of her book and briefly introduce the viewer to her story. Despite X
being one of the most ‘high profile’ sufferers she has never before agreed to go public
about this intensely personal period in her life. The programme will take the form of a
‘personal journey’. X will introduce post-natal depression from a personal point of view –
the emphasis will be on the fact that this, for many women, is a very serious problem, more
importantly it is a debilitating mental health problem that is experienced by a large
proportion of new mothers and has serious knock on effects for the whole family unit. It is
NOT feeling a bit weepy for a couple of weeks – it is day after day of unrelenting black
tunnel from which there seems little chance of escape.
X will explain that far from this being a problem suffered by ‘celebrities’ complaining to a
magazine that they can’t get back into their size 10 jeans – the severest form of post-natal
depression is the single biggest killer of women in the first year of their child’s birth.
Y runs the […] association, which runs a network of volunteers who counsel sufferers on the
phone, by email etc. Y will explain some of the facts behind the illness and explode some
of the myths. She explains how it can affect anyone, anytime – rich/poor,
working/unemployed, large family network/single mothers. She will introduce us to […]
who has been a volunteer for eight years and she tells X how she approaches a
depressed mother and the key issues that she wants them to believe.
X will talk to a midwife from […] Health Trust about the importance of ante-natal home
visits in getting to know the woman BEFORE she has a baby; they are then a lot more able
to make an informed judgement about her mental state after the birth.
Treatment
The treatment outlines how the
programme will look on screen.
It will give an impression of the
mood, shooting style, locations
and contributors.
Copyright: Elaine Pierson
Budget
Another important part of the producer’s There are several questions that need to
role is to draw up and attach an outline be asked when drawing up the budget.
budget with the proposal and the These are:
treatment. If the producer is applying
• How long will each stage of the
for funding, this will be an absolute
production take – is it months, weeks
requirement. The budget will show the
or days?
producer is capable and experienced
• How many shooting days are there?
enough to be considered for funding.
• Who is needed?
There will be situations where this may
• What is needed?
not be necessary, for example, the
• Can money be saved?
project may be developed within a TV
or production company. Generally, a documentary budget tends
to be less complicated than a drama
The indicative budget will cover the
budget. There are fewer elements to
production costs. Drawing up a proposed
cost, smaller crews, less equipment
production schedule showing how long
and often less-complicated shooting
the project is expected to take to shoot
scenarios. The budget will still be linked
will help this process.
to a shooting schedule.
The basic principles of budgeting, as
If you are writing up a budget, these
discussed in Chapter One: The Producer,
are key elements to keep in mind:
should apply here.
MISCELLANEOUS COSTS
You should budget for
everyone and everything.
If you don’t, you may have
to carry the cost out of
Professional tips
your own pocket. These
The budget should cover all of the costs may include:
provisional stages:
· Telephone
· Pre-production
· Photocopying
· Production
· Travel
· Post-production
· Copies of the fi nished
documentary
Producing documentary
COPYRIGHT PUBLICITY
On a low- or no-budget Always put something in
documentary the cost the budget for publicity.
of clearing a piece of This will cover the cost
music or footage can be of stills and posters to
prohibitive. For instance, publicise the film. Website
if you use music in the publicity, flyers and
film and haven’t cleared invitations to screenings
it you could find yourself all help. This is one
in serious trouble. area the novice film-maker
Alternatively, a specially tends to overlook.
commissioned piece of music
may prove cheaper and may
help market your product.
FILM FESTIVALS
Try to remember to put
something in for film
festival entry fees and
EQUIPMENT
DVD copies.
Even if you know you
can get a good deal on
equipment or a location for
YOUR TIME
little or no cost, enter a
costing in the budget. Any Pay yourself, even if it’s
money saved can be used only a nominal amount.
elsewhere in the project. Even if you own your own
It pays to be flexible. equipment enter at least
Proposal and treatment > Budget > Pre-production
OTHER COSTS
Always feed the crew and
participants properly on
the shoot. It shows respect
and encourages the crew to
work hard. Also, offer to
pay travel costs – up to
a limit.
Budget
budget.xls
5 Story/Scripts/Development #REF!
6 Producer/Director #REF!
7 Artistes #REF!
8 Presenter/Interviewees etc. #REF!
9 Production Unit Salaries #REF!
10 Assistant Director/Continuity #REF!
11 Crew-Camera #REF!
12 Crew-Sound #REF!
13 Crew-Lighting #REF!
14 Crew-Art Department #REF!
15 Crew-Wardrobe/Make-up/Hair #REF!
16 Crew-Editing #REF!
17 Crew-Second Unit #REF!
18 Salary & Wage Related Overheads #REF!
19 Materials-Art Department #REF!
20 Materials-Wardrobe/Make-up/Hair #REF!
21 Production Equipment #REF!
22 Facility Package Arrangements #REF!
23 Studios/Outside Broadcast #REF!
24 Other Production Facilities #REF!
25 Film/Tape Stock #REF!
26 Picture/Sound Post-Production-Film #REF!
27 Picture/Sound Post-Production-Tape #REF!
28 Archive Material #REF!
29 Rostrum/Graphics #REF!
30 Music (Copyright/Performance) #REF!
31 Travel/Transport #REF!
32 Hotel/Living #REF!
33 Other Production Costs #REF!
34 Insurance/Finance/Legal #REF!
35 Production Overheads #REF!
36 Theatrical Performances
37
38
Budget
The costs attached to the production
Producing documentary
Shooting schedule
The shooting schedule will be
worked around key days, events
and the availability of contributors.
Pre-production
Once the proposal has been accepted Location agreements are also a necessary
and the money is in place, the project will part of the pre-production process. If
enter the next phase – pre-production. it is vital that certain scenes are shot in
The producer will need to ensure that all particular locations it may be necessary to
the detailed research is being progressed get access in advance. This will also apply
and is being taken into account within if the film is to be shot in places that need
the production treatment and proposed specific permission, such as schools,
shooting schedule. prisons, hospitals or sports grounds.
If the project involves shooting abroad The production file is vital for the smooth
or takes place in multiple locations away running of the production. See Chapter
from the production office, travel and Two: The Basics for more detail.
accommodation will need to be taken
into consideration. This will have to be
planned alongside the shooting schedule.
Crew
Documentary crews are usually very
small, and it is not unusual for one
person to act alone.
Production
± The script
Final Draft AV File Edit View Insert Format Tools Window Help
arctic.xav
Dialogue
Save Print Cut Copy Paste Insert Video Insert Audio Scene/Shot Current Element
-1-
Agency MM Worldwide Group Writer Gerald Franks
Client Unadventurer's Inc. Producer Cameron Ford
Project VC-4X Director Steven Donovan-Lee
Title Arctic Escape Art Director Dave Sharpe
Subject Life in the Northern Wastes Medium HD
Job# 76D Contact M. Belle
Length 24 mins Draft 7B-AD
VIDEO AUDIO
§ OPEN ON DESOLATE ARCTIC JIM:
WASTELAND, VARIOUS SHOTS (REVERENTLY)
THOUGH IT SEEMS UNLIKELY, THE ARCTIC
CONTAINS ALL KINDS OF WILDLIFE.
Pre-production > Production > Post-production
JANICE:
THIS HARSH ENVIRONMENT IS HOME TO A WIDE
DIVERSITY OF ANIMALS.
JIM:
ALL THE ANIMALS - ON BOTH LAND AND SEA
Starting point/tips
Public spaces
The producer must check the rights
to shoot on location. Even in public
spaces, consent to film still has to be
given. This is the case for Greenwich
Park, London where consent has to
be granted by The Royal Parks.
Production
Vox pops (Latin for ‘voice of the The producer must ensure that any
people’) are unrehearsed interviews or access or location agreements are
expressions of opinions that take place negotiated and signed, ideally before
in public places. They are intended to the shoot starts.
give a feeling of spontaneity. Children
will need the written permission of their
parents or guardians.
Locations
Filming for a programme can take
place in a range of locations.
Producing documentary
90–91
Owner hereby grants to CSI Sports / BT (“Company/Producer”) and its respective parents, subsidiaries
and affiliates, licensees, successors and assigns, for good and valuable consideration, receipt of which is
hereby acknowledged, permission to enter upon and use the property and the contents thereof and the
appurtenances thereto located at _________________________________ (the “Property”) for the purpose
of photographing and recording certain scenes in connection with a programme tentatively titled
____________________________ (the “Program”). All physical embodiments of filming, recording and
photography on the Property shall hereinafter be known as the “Materials”.
Company and/or Producer may place all necessary facilities and equipment on the Property and agree to
remove same after completion of work and leave the property in as good of condition as when received.
Company and/or Producer will use reasonable care to prevent damage to said Property, and will indemnify
the owner, and all other parties lawfully in possession of said Property, and hold each of them harmless
from any claims and demands of any person or persons arising out of or based upon personal injuries, death
or property damage suffered by such person or persons resulting directly from any act of negligence on
Producer and/or Company’s part in connection with Producer and/or Company’s used of the Property.
Owner grants to Producer and/or Company all rights of every kind in and to the Materials including without
limitation the right to exploit the Materials throughout the world, an unlimited number of times, in
perpetuity in any and all media, now known or hereafter Invented, and in connection with the Programme,
Company or otherwise and for advertising and promotional purposes in connection therewith and all rights,
including copyright in the Materials shall be and remain vested in Producer and/or Company, and neither
the Owner, nor any tenant, nor other party now or hereafter having an interest in the Property, shall have
any right of action against Producer and/or Company or any other party arising out of any use of said
Materials whether or not such use is, or may be claimed to be, defamatory, untrue or censorable in nature.
The undersigned acknowledges that Producer and/or Company is photographing and recording such scenes
in express reliance upon the foregoing. The undersigned represents and warrants that the undersigned has
all rights and authority to enter into this agreement and to grant the rights granted hereunder.
Producer and/or Company are not obliged to actually use the Property or produce the Programme or
include the Materials in the Programme for which it was shot or otherwise.
This is the entire agreement. No other authorisation is necessary to enable Producer and/or Company to use
the Property for the purpose herein contemplated.
BY ______________________________________
Pre-production > Production > Post-production
DATE ____________________________________
Once the footage has been shot, the ± Delivery, exhibition and publicity
project will go into post-production or
Once the editing of the documentary is
the editing stage.
finished and master tapes have been
Often in the case of documentary film- made, the project enters the final stage
making many hours of footage will have of the production process. There are still
been shot. These tapes will have to be aspects of the production that have to
logged and then digitised before editing be dealt with, including making publicity
the programme can begin. copies on DVD.
The role of the producer during As well as dealing with this the producer
post-production will vary with each will also be tying up loose ends and
production. Some projects will have closing down the production office/base.
several key members of the production
For further information on funding,
team – a producer, a director, an editor
distributing and screening
or a combination of these, sitting down
documentaries see:
to view rushes. At other times the editor
www.britdoc.org,
alone will view the raw material in order
www.channel4.com/fourdocs,
to get a feel for the project. He or she
www.edn.dk and
may cut rough sequences together
www.mipdoc.com.
before showing the producer or director.
There are many ways to tell stories and
many ways to approach a production.
Professional tips
the script
· Music cue sheets
· Final collating of licences, Editing
permissions and contracts ready The post-production or editing stage
for delivery occurs when all of the footage is
viewed and sequences cut together
· Final budget costing to produce the final programme.
92–93
PRODUCING DRAMA
Drama production
Making a drama production,
often with little or no money, is a
challenging process. Nonetheless,
it is a very rewarding one for the
committed producer.
Producer greats: Matthew Weiner
Producing drama
98–99
Synopsis
Matthew Weiner
Filming even the humblest, lowest- The opening and closing credits of a
budget drama can involve managing a drama highlight this complexity, as
small army of people. In comparison many productions often include several
to most documentary production, the different producer titles. Some of these
drama producer will need to organise and titles are more likely to be found in
manage a significantly larger production feature films than lower-budget digital
team and crew, as well as handling productions.
complex technical considerations. Once
Below are some of the key roles:
writers, agents, actors and composers
are factored in, the drama producer’s job
is complex and layered.
CO-PRODUCER
Can be a producer from a
partner in the funding of
PRODUCER
the project.
Has overall business
(budget, contracts),
creative (script editing)
and quality management
LINE PRODUCER
responsibility for the
programme. He or she Normally found on feature-
controls the budget and length film production.
hires the key creative Employed during production
members, such as the to keep the project on
director, art director and budget.
editor of the production
team.
DEVELOPMENT PRODUCER
Nurtures and develops a
project with a writer,
ASSOCIATE PRODUCER
and pitch for funding. A
Will work under the development producer will
guidance of the producer. be continually looking
for new talent and ideas,
reading scripts by new
writers, searching out
up-and-coming actors and
Producing drama
EXECUTIVE PRODUCER
watching short films by
May oversee several new directors.
productions at one time.
100–101
± Production crew
± Camera department
RIGGERS
Specialist equipment is
CAMERA OPERATOR
handled by specialist
Answers to the DoP and roles, eg crane operators.
is responsible for the
working and handling of
the production cameras.
SOUND RECORDIST
Ensures that the sound
recording is consistent
FOCUS PULLER
and constant on-set. It
Makes sure the camera is is his or her job to
set-up with the correct anticipate and solve any
lens and that each image problems involving the
Producing drama
± Art department
COSTUME DESIGNER
Designs and makes the
costumes. Alternatively
they choose the
characters’ wardrobe.
The team
Producer
Director
Art director
Actors
Props Wardrobe
Production
assistants
Producing drama
104–105
Director of
photography
1st Assistant
director Sound recordist
2nd Assistant
director Boom
Extras
Development
A story or idea for a film may come from For a project to be successful the
a newspaper article, a book, a biography relationship between the writer and
or simply from the imagination. It is at producer is pivotal. Understanding how
this early stage that the producer must the writer works, good communication
negotiate and secure relevant rights. and creative collaboration will enable
If the script or story already exists, the producer to nurture the story into a
the producer must identify ownership viable script to pitch to funding sources.
and acquire the rights to the material. When developing an idea with a writer,
Depending on the project this can an agreement needs to be formalised in
involve approaching and negotiating writing early on to avoid any disputes at
with a range of people including lawyers, a later stage.
writer’s agents or publishers.
Writing a script is often a lengthy and
Some literary works are already in intense creative process. It may involve
the public domain because copyright in-depth research around a specialist
has expired and therefore can be subject, as well as interviewing useful
used without the worry of copyright contacts. There can be many drafts
infringement. Much classic fiction tends before the final script is ready to be
to be free of copyright. The bottom line filmed. Desperate to get their hands
is that the producer will have to make on the camera and start shooting,
absolutely sure they can use a book, inexperienced film-makers can overlook
story or script in the early stages of the attention to detail and time needed to
development. craft a strong script. Ultimately, the script
is the blueprint for the finished film.
± Working with writers
As discussed in earlier chapters (see
Without the writer there is no script and Chapter 2: The Basics) copyright and
therefore no film. The first person the other rights issues can be complex.
producer will have to work with is the The drama producer requires in-depth
scriptwriter. If the drama producer is the knowledge or a budget to cover specialist
catalyst for the idea, he or she will need legal advice.
to find a writer to attach to the project
For further information see:
and to develop the idea.
www.writersguild.org.uk, www.wga.org
and www.wgwast.org.
Producing drama
Treatment
The treatment is written in order to
convey the story and provide a feel
for the film’s mood and style.
Copyright: Momoko Abe
106–107
PROLOGUE:
A GIRL (soft and long brown hair, white skin, aged early 20) in a pretty white summer dress is
walking through the lively Borough Market. She is listening to music on her iPod. The music leaks
slightly into the air. She is quietly humming to the music. We don’t see her face clearly, just her rosy
lips stretched sideways. The way she walks suggests that she must be heading to a date that she
has been looking forward to for sometime. She absorbs the lively noise of the market, the
appetizing sight and smell of food.
Shiny golden yellow light wraps around them. They dance with wonder, a chemistry. They turn, lift,
jump and feel dizzy. It’s inexplicable feeling. Quiet but strong… like silent fireworks.
The GIRL comes to her senses. Everything is back to normal. HARRY and SALLY quickly and
awkwardly turn their eyes away. GIRL sees that SALLY leave and HARRY watches her back as she
goes.
for someone. The next moment, JIM (mid-late 20s, handsome) appears with 2 glasses of red wine
in his hands. A charming smile is on his face. He sits down next to CATHERINE and puts his arm
around her shoulder without hesitation. While they are making out, another man runs into them. It’s
JULES (mid-late 20s, good-looking, stylish, unmistakably gay). He shows a genuine surprise to see
JIM with CATHERINE. JIM notices JULES and freezes and his face turns to white. CATHERINE
looks at JIM to JULES in confusion. The GIRL is watching those three in this awkward situation and
imagines…
1
Development
(CONTINUED)
Producing drama
108–109
Script
The script is developed from
the treatment (see page 107).
Copyright: Momoko Abe
Development
Final Draft
Final Draft is a useful scriptwriting
software for writing and formatting
a script to follow the standard layout
conventions. (www.finaldraft.com)
Smart Type
Remembers and automatically
fills in character names, scene
headings, transitions, locations
and more. All you need to do
is type the first few letters and
Smart Type will instantly type
in the rest.
Revisions
Easily handles multiple revisions,
setting off revised text with a
customizable color and margin
marks.
Pagination
Automatically formats and
paginates to industry standards.
Panels
Organizing and developing your story has never been easier.
The Panels System allows you to view your script, its outline
Producing drama
The Index Cards can contain both scene and summary notes
for a particular scene. The Outline Panel provides quick and
easy navigation through the script.
110–111
TITLE SEQUENCE.
E
A
1 INT: HALLWAY: A PARTY. 1
D
Pressed close, a man and GIRL 1 laugh. STEVE rudely pushes
between them, moving on through a couple more party goers.
TITLE:
SUGAR
G
4 INT: KITCHEN: EARLY EVENING. LOCKED OFF CAMERA W/S. 4
THE ACTION MOVES IN AND OUT OF FRAME. CAMERA DOES
NOT MOVE AND THERE ARE NO C/A’S.
PETE
(laughing)
H No...I don't believe that.
MICKY *
it's true...it happened in Tokyo *
in the 1920’s - there was a *
terrible fire in a factory... *
Sugar
This page from the 10-minute short,
Sugar, is set in the conventional
layout for a drama script.
Pre-production
Page 6
Equipment hire
Camera hire companies will be able
to supply the equipment and services
required for a shoot.
Starting point/tips
As well as preparing and managing Finding the right actors for the project
the budget, the producer will be is crucial to the film and can often be
overseeing the script breakdown. A integral to the funding and financiers.
script breakdown is an analysis of all the For a fee, professional drama producers
components involved in all the scenes bring on board casting directors who are
in the script. It will list locations, props, knowledgeable about up-and-coming
actors, extras, costumes and any special actors and have good relationships with
effects. This enables the producer to cost agents. The producer will need to organise
every item in the film and to work out the and manage this process and often
most effective shooting schedule. provides creative support to the director
throughout the decision-making process.
The breakdown can be used to organise
the location shoots. Identifying As a producer you will have to organise
individual scenes for specific locations advertising the roles, setting up casting
will help to estimate the time needed to calls, auditions and any call backs. The
complete the production and to create starting point is to draw up an advert,
a shooting schedule. which will need to include the following:
Most films shoot out of script order as • Information about the role
it is cost- and time-effective to group – including age and any key physical
and shoot all the scenes that take place characteristics
in a specific location. This is obviously • A synopsis of the story, dates/location
preferable to shooting one scene in a for the shoot, format and running length.
location, and then having to move the • Full contact details for the production
crew, cast and equipment to another team or company
location, only to return to the original • Audition dates and details
location for the next scene within the • Any payment details if relevant.
same day.
Places to find actors
Obviously a feature-length film shot
over several weeks or months will have Places for find actors include:
a far more complicated breakdown and
• www.shootingpeople.com
production boards than a short film.
• www.talentcircle.com
• www.pcrnewsletter.com
____________________________________________ ___________________
Description: One line of description of what happens in the scene. Day/Night:
As indicated on the script.
____________________________________________ ___________________
Page Count: Pages are divided into ‘ 1 8ths’ or eight sections.
This is NOT the page number the score is on.
Extras/Silent Bits
Wardrobe: Make-up/Hair: Sound Effects/Music Development > Pre-production > Production/principal photography
Special costumes or wardrobe Any special make-up, such as
details. wounds or materials to age
character.
Continuity stills
Continuity stills are used in order
to record how a scene looks at the
beginning and end of a scene. These
can then be referred to if it needs to
be re-shot at a later date.
Pre-production
± Risk assessment
Whilst every precaution has been taken by Octagon CSI and our
contractors to ensure that all camera positions etc are safe, you are
reminded that, under the Health & Safety At Work Act, section 7, it is a
general duty of all employees to take reasonable care for the Health &
Safety of themselves and of others who may be affected by their acts or
omissions. A list of identified hazards is attached and all staff should
observe precautions that have been taken to minimise them. Please report
any hazard to the Octagon CSI Production Manager or the OB Unit
Manager of the appointed facilities company. This is of particular
importance to anyone who is self employed.
Highlight if applicable.
Date:
Issued by: Production Manager
RISK ASSESSMENT
Venue:
Event:
Date:
Date undertaken:
Logistics
Although the producer does not get
Starting point/tips
Once the shoot is over the editing and The basic stages of editing are:
shaping of the story begins. At this
• Logging and digitising
stage the producer has to ensure that
• First assembly (getting the basic
the project is keeping to schedule and
structure of the film in order)
budget. This should become easier as the
• Rough cut
project enters the editing stage as there
• First cut
are simply fewer people involved.
• Fine cut
Editing is always a highly creative stage • Final cut.
in the production process and student
With projects shot on digital formats
film-makers can often overlook the
most of the sound editing will take place
importance of attention to detail. The
in the edit. Once the picture is cut the
editor and director should be obsessive
next stage is to go to a sound studio for
when it comes to both sound and vision.
track laying before for the final mix.
The producer should allocate adequate
time for the edit and dedicate sufficient
time to research, locate and manage all
aspects of post-production sound. The
editor will invariably need to watch all the
rushes, as they need to be familiar with
the material before editing starts.
Producing drama
124–125
Production/principal photography > Post-production > Case study: The creative producer
copies of the final film The Basics, and the following websites:
• Ensure all clearances, especially www.lux.org.uk, www.eurofest.org and
for any music tracks www.bfi.org.uk.
• Organise a date for the sound mix
• Set a date for final delivery.
Starting point/tips
Inexperienced film-makers often · Check and check again that the final edit
underestimate the amount of planning is in sync and the sound levels are correct
and forward thinking needed during the · Research music in advance
edit. Some golden rules to follow are: · Log rushes clearly
· Ensure that all tapes are labelled · Allow plenty of time for track laying
and kept securely in one place and and sound design
that they are accessible to relevant
members of the production team
Case study: The creative producer
For the novice producer what is Who else do you work with?
a pitch page? If we are to go into production, the
We are asked for different things. first person I would look to work with,
Sometimes you can send a paragraph apart from the writer, is the director. I
and if they like it enough it can go into a usually employ the director knowing the sort
treatment or outline, which can be the of look and vision they will want. Then there
difference between four to six pages and is the delivery side – the line producers and
18 pages depending on what it is that you the accountants. As the producer I not only
are pitching. There is a big difference have to achieve the creative vision but also
between a single and a mini-series. For I have to worry about things like budgets
a series, if they like the paragraph you and deliveries, how things are going to be
have written and they like the writer they done and how we are going to get the most
will ask you to come up with a series money on the screen.
bible and a first episode. A series bible is Post-production > Case Study: The creative producer
how the whole thing is going to play out, Could you describe a typical week?
what story arcs are across the series, I rarely have a typical day or a typical week.
what happens in each episode, how the Right now I am just about to go on to prep
characters are going to develop, the on a big show, so I have been interviewing
format of it. But if it is a single, I will often Heads of Department the last two days.
get a response on a couple of lines and Another channel is interested in an initial
I will work on no more than one side of idea for something else, so I have had to go
A4 with a writer, written in the tone of the to a meeting in-between. I am also getting
piece. The pitch is an indication of what a second draft down for another piece
they will get if they give you the money; with another writer. You have to be a good
it tries to excite them in some shape or multi-skiller and juggler as a producer,
form. So you give enough away in a pitch because in the course of any day you can
page, for people to want more. be dealing with many different people and
projects, which require you to think quickly
both practically and creatively.
128–129
PRODUCING
MAGAZINE SHOWS
Breakfast TV, game shows, sitcoms, talk shows
and reality TV.
Programme formats
There is now a wide and varied range
of television programme formats
available to the viewer.
Producer greats: Various
Producing magazine shows
130–131
Synopsis
Various producers
Producer greats: Various > Types of TV format programmes > What is a magazine show?
Big Brother 2007
An example of a reality TV
programme format with a
global audience.
What is a magazine show?
Magazine shows are constructed from They often involve several members of
features linked by in-vision presenters, a production team working on various
or out-of-vision voice-over. Similar in items at any given time to tight budgets
concept to the printed magazine, they and quick turnarounds. In order to
offer a range of items packaged within understand the roles involved in this type
a single programme. of production, a typical working week in
the life of a magazine programme will be
This type of programme may contain
considered later in the chapter.
a range of content including news,
documentary, drama, interviews,
graphics and archive footage.
Producing magazine shows
134–135
Types of TV format programmes > What is a magazine show? > The team
The team
EXECUTIVE PRODUCER
ASSISTANT PRODUCERS (APs)
Most programmes will have
a team of APs who will
produce individual edited
A PRODUCER OR PRODUCERS
stories or features.
Depending on the nature
of the programme. For
instance, a daily news
programme will require
PA
several producers working
Producing magazine shows
Filming
The resulting shots from the day’s
filming will be cut by the editors,
who work closely with the producer
and APs.
What is a magazine show? > The team > The production schedule
PRODUCTION MANAGER
Works closely with the
producers overseeing
budgets, schedules etc.
RESEARCHERS
There may be several
researchers working on
EDITORS
a programme. They are
assigned the role of There may be multiple
identifying possible leads editors working with the
or stories and collating assistant producers and
background information. the producer, editing
material on a daily basis.
The production schedule
Professional tips
The producer’s responsibilities include: · Creative decision making about the visual
· Editorial overview of the style and graphic look of the programmes
content and presentation (essentially the blueprint for how the show
of the programming will look, ensuring consistency over the
· Liaising with the production features)
manager to ensure that the budget
is staying on track
Production
Running glossary
Professional tips
Running glossary
Post-production > An example weekly magazine programme > Case study: The executive producer
Studio shoot
Working on a magazine programme
often involves a large crew who work
as a tightly-knit team.
An example weekly magazine programme
Feature
A D
B E
Producing magazine shows
C F
146–147
Post-production > An example weekly magazine programme > Case study: The executive producer
G J
H K
The production meeting takes place on After the production meeting is over, the
the morning after the first transmission. All team go back to work making the following
the production team get together to watch week’s programme.
the latest programme. The team analyse
One feature a day will be cut by each
each feature and discuss ways to improve
individual assistant producer. For the
the show.
rest of the week, they will be working on
They then move on to talk about the their scripts, finding appropriate music
features being cut for the upcoming week, and archive material. They will also
as well possible stories for programmes be researching, planning or shooting
in the following weeks. Stories will be forthcoming stories.
allocated to the assistant producers to
plan, shoot and script. The researcher Meanwhile, the producer will be script
is assigned projects to research. editing and in some cases rewriting the
assistant producer’s copy. Part of his or
The production manager books crews, her job will be to sit in on the editing of the
edit suites, talent and manages clearances features with the AP to advise and ensure
and permissions. the editorial overview. He or she will also be
re-calculating running times and writing the
link elements of the script such as the menu,
commercial breaks and next-week teases.
Professional tips
Producer’s responsibilities
It is the producer’s responsibility
to ensure that the following tasks
are carried out:
· Correct versions of programmes
are delivered to the client
· Transcripts of the finished
programme are completed
Producing magazine shows
Day 6 Day 7
The programme edit or stitch day will The programme has been edited, but it is
take approximately 10 hours to complete. still not complete. The next stage of the edit
The team involved in this day will be the is to record the voice-over. The assistant
producer, editor and graphics operator. producers will have written the script for the
voice-over during the week, and these scripts
The producer will work with the editor in a
will be edited by the producer. This is the final
non-linear edit suite, such as Avid, building
element in the production process.
the programme from the pre-cut features,
stings, titles and graphics. They will start The producer will direct the voice-over
with the first item on the running order, session using two presenter voices to give
which is the Menu, and cut the programme variety to the programme. The audio mixer
accordingly from beginning to end using the will record the voices clean on to a separate
running order as the programme template. audio track using the edited programme as
a guide. The editor will then make sure that
Once the programme has been stitched the the final mix of voice, music and effects has
Post-production > An example weekly magazine programme > Case study: The executive produceer
graphics will then need to be added. These a clean M and E audio track for the use of
will be straplines/lower thirds and full-page international clients.
statistics. This part of the edit can be
The programme will have different running
time-consuming because of the amount of
lengths depending on the client and the
time it takes to render. The producer and the
sound will be cut and pasted according to
production manager will need to take this
each version.
into account when budgeting and planning
edit suite bookings.
Day 7 (evening)
By the end of the day the programme will be
complete with graphics, ready for the final
The final programme will be delivered by
stage of the edit process – the recording
satellite as well a being copied (dubbed)
of the voice-over. This will take place on
on to tape to be couriered to clients across
the following day. The editor will also make
the world. Depending on the TV format eg
sure that there is a ‘clean’ (without graphics)
NTSC, PAL or Secam, the tapes will need to
back-up copy of the edited programme.
be dubbed in the correct format. This is also
This version can be made available to
known as ‘versioning’.
international clients for rebranding in
different languages. The editor will also need
to transfer all of the audio on to an audio file
ready for the next day’s audio session.
Case study: The executive producer
Chris works for CSI Sports and has This involves a presenter and guests
been responsible for an extensive range providing analysis of the events prior
of sports programming for the English to the game and afterwards. We have a
Football Association, FIFA, the Football two-camera studio, a small gallery and a
League and UEFA, as well as long-running studio team of approximately ten people.
sports highlights and magazine shows.
During his four years producing ‘World What do these people do?
Football’ he was part of the team that made
There are two cameramen, a set
it into television’s most widely watched
designer, a director, producer, autocue
soccer show, reaching 160 broadcasters
operator, make-up artist, sound engineer,
and 200 countries worldwide.
vision engineer and a runner. There is
also an Avid editor working with another
What do you do?
producer providing cut-picture content.
I’m Head of Programming at an independent
production company, which specialises Who are the key people in your team?
in a range of sports content. My company
In short, everyone is important. Everyone
represents a number of major sporting
is there for a reason and if one person
federations and commercial clients. The
doesn’t do their job properly the
type of work we cover involves producing
programme suffers.
programming around live sporting events
and making a variety of supplementary
Is there a script?
programming, such as promos, magazine
programmes and previews, reviews and Yes. The producer writes the script over
archive based programmes. the week for the presenter to use on
the day. A researcher will provide the
What do you mean by preview and review? background information for the script.
The structure of the script is fairly
Previews are programmes that provide
formulaic – we don’t deviate too much
context to upcoming sporting events,
from the tried and tested.
reviews are obviously looking back at a
sporting weekend.
Why?
‘I RELY ON PEOPLE TO DO
THEIR JOBS PROPERLY.
IF A RESEARCHER GETS
THEIR FACTS WRONG IT’S
NOT GOOD.’
What can go wrong? What do you like doing best and why?
Any number of things can go wrong. For Making good-quality programmes that
example, the presenter can fluff their are technically well made, thoughtfully
lines or say something unexpectedly, produced and creative. I’d like the
which could be libellous. The script can viewer to feel comfortable, interested
be wrong, I rely on people to do their and hopefully a little excited about
An example weekly magazine programme > Case study: The executive producer
jobs properly. If a researcher gets their what they are watching.
facts wrong it’s not good. Obviously in
a live situation we can have technical What do you consider to be the most
problems. We can lose sound, vision or important skills to have as a producer?
run out of time for rehearsal. Preparation
Patience. Whatever you have done in your
is everything – if you prepare properly
career you are only as good as your last
you can minimise your risk.
programme. You are constantly striving
to improve and move on.
When it does go wrong what do you do?
Keep calm. The last thing you need is Did you have any formal training?
somebody shouting in a gallery. This
No I didn’t. In the television business you
only makes things worse as it tends to
tend to learn from experience. I believe
compound the first mistake. Nervous
the only TV company who offer formal
people make more mistakes. The
training are the BBC. All the producers
producer and director in the gallery
I have ever worked with learnt on the job.
have to think on their feet and provide
Most people start as runners or work in
leadership.
TV ops and basically work their way from
This is also a people business and the bottom up.
you need to be able to manage people
to get the best out of them. A little
encouragement goes a long way.
152–153
LEARNING CURVES
Breathing In
Breathing In is a short drama
produced by Oliver Goodrum, one
of the up-and-coming producers
featured in this chapter.
Producer greats: Andrew Eaton
Learning curves
154–155
THE PRODUCER
± The Road to Guantanamo, 2006
Synopsis
Andrew Eaton
THE PRODUCER
You made the decision to shoot on film.
Can you talk about the choice that you
made because it obviously made an
impact on production?
Producer greats: Andrew Eaton > Oliver Goodrum – Breathing In > Joao Tristao – Ambulance Blogger
equipment, and all of the locations were
either at my house, a local women’s
institute (for the canteen scene), the
bar where my brother was working
or outside. We managed to get all of
the locations for free. At the time we
didn’t have any money, luckily my dad
decided to give us £1,000 and I added a
further £500. So our budget was £1,500.
We went over in the end – we probably
spent about £2,000, but that allowed
us to shoot on film. Amarillo [name of
Oliver’s production company] brought
insurance to cover everything for the
film and when we needed a dolly they
were going to help with that, getting a
proper [pee wee] dolly. In the end we
went with a suitcase dolly, which was
just easier and was all we needed.
Storyboards
Oliver carries out in-depth
storyboarding as part of his
preparation for filming.
Oliver Goodrum – Breathing In
What about finding your actors? What do you think was the biggest
challenge as a producer?
That was quite a scary process. We put
up a posting on Shooting People, which The biggest problem was inexperience,
in hindsight was a good thing, but I don’t not knowing what I was doing and how
think it is the only thing you should do. to do things in the best way. In the end
I didn’t realise about casting directors it happened and it went all right. On the
and things like that. To get a casting day when we were shooting I was not
director on to a short film is quite a working with the actors a lot of the time.
big task, especially for free. Through I think the running of the shoot didn’t
our posting on Shooting People we got go too well in my eyes, especially now,
loads and loads of CVs from girls, but knowing how shoots go.
hardly any from guys. We saw about five
guys and I was happy with two of them. Was it because you were doing both roles?
The guy I actually approached wasn’t
On the shoot days I wasn’t with the
available, but luckily Matt was still
actors enough and now it is the only
available and in the end I think he was
thing I do. But we just didn’t plan enough
certainly the best choice – it was sort of
and we were under-prepared. We did a
lucky that the other guy wasn’t available.
storyboard but now I do animatics, cut
In hindsight we were making it all up on
my storyboard together with dialogue
the spot, but with the girls it was a lot
and know exactly if the scene is working
easier because they had a lot to work
or not – I think it is a massive help. At one
on and as soon as I saw Sally, I knew
point when we were in the office I didn’t
she was the one for the role.
know what to do, I just couldn’t function,
I had a blank. Adam and Will shot some
of the shots doing the Sellotape on the
hands and the rolodex. I wasn’t even
there when they shot that because I was
off trying to work something else out.
Now I would never let that happen.
THE PRODUCER
Now that you have some industry and What advice would you give to a student
producing experience what would you who wants to be a producer?
have done differently?
Get experience. Get out into the industry
It is all about preparation. I would have because it opens your eyes. Just learn as
done a lot more drafts of the script, more much as possible and get advice. Keep
in-depth storyboarding and I would have making phone calls, keep writing a list
cut that together to really work out how of things to do because you are the only
I was going to make the scene work. person that is going to do it, and keep
I would have done a lot more research in knocking on doors asking questions,
terms of lighting, the look of the film and asking people. People can only say no.
how I wanted it to look. I think on the day
I would have been a lot more prepared
and worked with the actors a lot more.
I would go for professionals because
there are so many out there and there
is no reason why you can’t find some
Producer greats: Andrew Eaton > Oliver Goodrum – Breathing In > Joao Tristao – Ambulance Blogger
amazing actors to work on your short
film. But going back to casting, I
definitely do that differently now. Ideally
I would try and find a casting director or
at least a casting assistant, someone that
is trying to become a casting director
to help me. I would look at more people.
I would also take a lot more advice
from every single angle from as many
people as possible throughout the whole
process... I would do that a lot more.
Combining his experience as a journalist It was really difficult, firstly because I was
in Brazil with a post-graduate film-making a bit insecure because I was a student.
course, Joao produced two compelling When I was in Brazil I was a journalist and
documentaries about life in London. I had a newspaper behind me. But I sent
an email saying that I really liked his work
Tell me about the first film you made on and I asked if we could talk about maybe
the post-graduate film-making course. making a film, a short documentary. He
gave me his phone number; I called him
The first film I made was called
up and explained a little bit more about
Ambulance Blogger about this guy
the project and he said that he had to talk
called Tom Reynolds. The first thing
to his boss from the London Ambulance
for a documentary is that you have to
Service. That was a bit complicated
have a strong character and then you
because I had to call his boss, explain the
can start the production. So I basically
idea and get all the forms signed before
did the search online to find someone
I did the actual film. It was a little tricky
interesting, and I found loads of different
for me because I had to talk to many
things that appealed to me. Then I found
different people from the [ambulance]
this guy, Tom Reynolds, who writes a
service to get the permissions.
blog. He is in the top five in the UK, so
loads of people read about what he is
What was the process of research and
doing every day. It is a blog about his
production? How did you go about finding
ambulance work, as he is a paramedic.
out what you could use in the film?
The way he writes is really funny, a
different approach to the story. So that That comes to me naturally because of
is how I first got the idea. my journalistic experience. Firstly, I had
to do the research about who this guy
Is your journalistic experience useful? was – I needed to know everything about
him. I needed to read all of his blog – it is
Yes, it is a different approach when you
a three-year blog! I read most of his work
are a journalist. You’re trying to think of
and then of course I Googled him and then
something that is going to make the news,
I found newspaper interviews on him. He
and I think this guy could make the news,
had a book coming out in a few months
he is different. I was trained to do that – to
so I read all about that. You need to do the
imagine the story before it has happened.
research before you go into the interview;
To think about how best to target the
you need to know who you are talking to.
story, how to approach the story.
That is why it is called research. You gain
confidence, especially nowadays with the
Internet; I even found videos of him on You
Tube, so I knew he was funny.
Learning curves
160–161
THE PRODUCER
How did you plan out the filming, bearing My filming plan was that filming should
in mind your journalistic background? be based around two spaces; the Internet
blog and the ambulance. I decided it
The basic difference is that journalism is
was a good idea to start filming at his
all very basic; you just tell the story. With
place first so I could get to know him
a documentary you need to get people in
better. You need the first day of filming
the mood to talk about the subject, but
to get to know the person, especially in
the first thing that caught my attention to
a documentary where you are not really
the story was the way he wrote. He often
directing the person, you are kind of
made fun of some of his patients because
following them. There has to be a trust
they call the service for minor problems,
between the two of you.
such as having something in their foot
that is hurting a little bit. Basically what
he says is that people are lazy so they
Oliver Goodrum – Breathing In > Joao Tristao – Ambulance Blogger > Daniel and Jesse Quinones – Cage Fighter
call an ambulance, they are not actually
sick. So I thought that after everything I
read about him on the blog, that bit was
the most interesting. I didn’t want to tell
the same story that people have told Ambulance blogger
A screengrab from the blog site that
before; that being a paramedic is tough, first attracted Joao Tristao to Tom
emotional work. Reynold’s story.
Joao Tristao – Ambulance Blogger
It was a five-minute film. How many days What was Anita doing?
did you shoot?
I was filming non-stop with the
My first idea was to go to his place, to camera. Anita concentrated on getting
spend half a day over there just talking permission from the patients. So I
to him. I had loads of questions so that would stay with the camera and focus
I could get to know him better. It’s also on Tom all the time, and Anita would
an opportunity to get to know the story get permission from the patients. She
better because when you ask questions would enter the ambulance to talk to
you may get a response that you weren’t the patient to get their permission and
expecting. That is the nice thing about I would wait outside. If the patient said
doing a film. By having a break between OK, I would jump on the front.
filming you can actually think about and
re-watch the interview. But you also would have written
consent forms?
When I visited him I had a bit of a problem
because it was around November or Yes, we got forms from everyone at the
December and he was really busy at that end, including the hospital staff.
time. I didn’t get permission to film with
him in the ambulance until a month later, Permission from the local hospital. Can
after I did my first interview. That really you describe the type of people you had
concerned me because if I didn’t get the to approach?
ambulance then there was no film, as I
You need to know who you need to talk
needed to see the people coming into the
to; sometimes that is a difficult thing
ambulance. That only happened a month
especially in the London Ambulance
after and we only had one chance to film
Service. Firstly there was Tom and Tom’s
on the ambulance because he couldn’t do
boss because he was the manager of
any other day.
that station. Then Tom’s boss told me to
talk with the Communication Office for
How long was that day?
the London Ambulance Service at home,
The day was 14 hours. I felt bad because and that is what I did. I explained the idea
he never stops. He only went back to the and so forth and then they gave me all the
main station once to have a cup of tea permission that I needed.
spending only five minutes there, and
then he had to go back. I had to stay all
day on the ambulance with him, all day
long holding the camera. And I knew it
was such a tight space at the back of
the ambulance. It just was me with Anita
[crew member] helping me out.
Learning curves
162–163
How many hours of footage did you shoot? If you had to make the film again, would
you do anything differently?
Eight tapes.
Yes, I think you always wish you had
You produced and directed, how did you done something differently. If you had the
approach the edit strategy? chance to go back you would always do
more. I think that the film lacks a little bit
When you are filming you really have
on the Internet and blog side of the story.
to think about the edit. So when I was
I needed to persist more with him, to go
filming I already knew which patients I
back one more day, but sometimes the
really liked so that helped me out. Then
person says, ‘Oh no, I am sorry I can’t.’
when I got home I would watch all the
You have to be persistent sometimes and
tapes again and then I would paper edit.
I felt that I wasn’t. Sometimes, when you
So I didn’t digitise all my tapes because
spend the whole day filming, you just want
Oliver Goodrum – Breathing In > Joao Tristao – Ambulance Blogger > Daniel and Jesse Quinones – Cage Fighter
it would be a waste of time. I would only
it to be over. You need to persist to make a
digitise the good patients – five or six
good film; you need to believe in it.
patients in total, and then I started out
with the ones I really liked the most,
like a guy who took a lot of painkillers.
I knew that that was really strong
so I started editing his story first. I
constructed his story then I would do the
same with three or four other patients.
Then I would re-watch the interview that
I did at his [Tom Reynold’s] place to try
to see what they have in common, trying
to match things. Trying to get the feeling
of his work. I guess what I was trying
to do was a video blog – the same thing
Tom does in writing but on video.
.
LESS INTERESTING .’
164–165
THE PRODUCER
So what would you say was the key So you only had a week?
element of that character? What were
DQ: A week to shoot the entire film
his attributes?
apart from a couple of shots that we did
JQ: I think the thing about him that really afterwards, but we did it in a week in
appealed to me was that in a way he terms of shooting.
almost seemed a little uncomfortable.
When you see someone too comfortable What clearances and access did you
on screen, enjoying the camera, they have to seek out?
become less interesting. The guy was
JQ: A lot of the stuff was done with the
sort of shy and a bit introverted, because
Joao Tristao – Ambulance Blogger > Daniel and Jesse Quinones – Cage Fighter > Daniel and Jesse Quinones – Cold Calling
promoter. We obviously had to have
of that, every time we caught a moment
clearances with Dean Gray, his girlfriend,
with him it almost feels like a discovery.
his friends and the promoter, and also
DQ: We are discovering a moment. Yeah, a location permit. There was also an
you have to wait until his guard is down agreement not to film the fight itself, but
and that is the moment when you get the we would be able to use the footage of
best stuff. the fight. This was because he owned the
copyright to the fight and he didn’t want
Once you found him what was the next anyone else to film it.
stage in pre-production? What was the
time scale and what did you have to deal Was there anything really problematic?
with so you could film?
JQ: When we first found out that we
DQ: Basically he had a fight the following wanted to film Gray he warned us that we
week. We had to make a decision would have to pay for the permit for the
whether to film him that week or wait location. That sort of alarmed us because
three months when the next fight came we would have a documentary about the
up. We decided to go for it. We could fighter and not actually have the fight.
still make the next fight anyway, so we
DQ: And basically we wouldn’t get the
decided to film this one and learn from
fight footage until very late. For editing
our mistakes. We could always make the
purposes we didn’t actually know what
second fight if the first wasn’t any good.
they had, and as that was the main part
of the film we were kind of unsure about
the situation. We had to sit there and
wait maybe a week and a half before we
had to hand it in, which was very close
to the deadline.
Daniel and Jesse Quinones – Cage Fighter
‘DOCUMENTARY IS
UNPREDICTABLE AND
SOMETIMES IT IS ABOUT
CATCHING THE RIGHT
MOMENT.’
In a way it doesn’t seem to matter because Were there any mistakes and have you
this footage is only part of the story? learned from them?
DQ: The fact that the fight wasn’t very JQ: There were a few technical
exciting was a bit of a let down so it was mistakes because the camera was new
kind of an anti-climax. to us and we shot the first day on 32 K
– you don’t notice those little mistakes.
How many days did you have to shoot? I think there is a tripod in one of the
shots as well. We incorporated more
JQ: Seven days. We had two training
of the techniques we learned towards
sessions; we had one day at his house
the end of the film for how to disarm
and one day at his job.
the interviewee. We did a few things
just to relax him to make the interview
How long were the days?
less formal and let him know when the
DQ: The training days were about three to camera was on or off. The last footage
four hours. At his house we spent about was some of our strongest material.
four hours. (The job) was at five o’clock in
the morning and that was a bit of a pain but Because he was comfortable?
we were only there for about half an hour.
JQ: Yes, he didn’t know he was being
JQ: In total we shot 15 hours. We wanted interviewed, we were just having a
to be able to make mistakes. If we shoot casual conversation and we used a lot
everything that we think is relevant we of that. We filmed him at first and then
have it, so in editing we felt comfortable we turned the camera off and started
sitting through it all. talking to him and then Danny would turn
the camera back on.
Learning curves
166–167
THE PRODUCER
With the pre-production is there Do you have an overall tip for someone
anything that you feel you learnt? making their first documentary?
JQ: I think with this one, because it was DQ: Not to get too consumed, too
so fast paced, the thing that we learnt focused on the technical parts of film-
was that sometimes – which I think is making. It is very important to know them
a good thing – it is always good to be all, but sometimes people get a little
prepared, but sometimes it is good to be obsessed with technical things. It is more
a little spontaneous, to go with your gut important to get a good idea, a good
instinct. Documentary is unpredictable story and a good character.
and sometimes it is about catching the
Joao Tristao – Ambulance Blogger > Daniel and Jesse Quinones – Cage Fighter > Daniel and Jesse Quinones – Cold Calling
JQ: And if you have those things people
right moment and finding the magic in it.
will get engaged with the material and
won’t notice that there is something a
For post-production, how long did it take
little bit off, like the sound or lighting
to edit? How did you approach the edit?
not being quite right. They won’t see it
DQ: The challenge in the beginning was because they will be so moved by what
really just finding the story because we they are watching. Make something from
had all this footage and we needed a your heart.
structure; I think this is really difficult
in the beginning. What we did was we On a practical level the camera was a
started with the intro by creating little PD-150. Did you use boom or radio mics?
scenes. We tried to keep the same
DQ: Boom and it was edited on Final
standard of quality in all of the scenes
Cut Pro.
throughout the entire film. The next
scene is only as good as the one before.
And lighting?
We had to edit the film in one week
because our grandfather passed away DQ: No lighting at all.
and we had to do a 60-hour week in five
days, so it was interesting. That brought So that was it? That was the equipment?
out something different for the edit.
JQ: For the budget it was just £5 travel.
Daniel and Jesse Quinones – Cold Calling
Can you talk about the idea and its DQ: And even now we are still changing
development for your project it, cutting it down trying to make
Cold Calling? it shorter.
THE PRODUCER
And the actors? I think that is one of the challenges of
making a low-budget film?
One of the actors we found through
a tutor at the university. One I know JQ: But I thought it was kind of fun with
from the theatre, and I played a cameo. regular people. I think actors are good
Daniel’s girlfriend also played a cameo, but sometimes they get too excited and
and a friend of mine played a little part in people are more authentic sometimes.
it as well. Some were friends and others
were actors. Any unexpected issues with the shoot?
Daniel and Jesse Quinones – Cage Fighter > Daniel and Jesse Quinones – Cold Calling
DQ: Because we had to shoot it through JQ: Been more stern and executed
the week a lot of people have jobs, so we exactly what we wanted instead of
had to work around people’s schedules letting our crew get out of hand. It was a
in terms of the crew and actors. It was young crew of 21- to 22-year-olds, who
quite difficult. were a bit immature. But after the first
day we became a bit stronger because
JQ: We did have to drop an actor for
we were both kind of upset because
the part of Will. He was a guy who we
we messed up a shot. Our assistant
worked with before, we liked him and he
director lost the plot through the whole
was in our previous film but his schedule
excitement and just didn’t check it off
conflicted so we had to let him go. And
the shot list so we basically missed the
then we were really concerned about the
shot, but we worked around it.
two cameo people in the bed scene so
that is why I did it myself.
Any other problems with the production? So the shoot was problem free?
JQ: Nothing technical, but I think both JQ: More or less. It was very smooth and
of us agree on the lead actor. He was the actors overall did a good job and the
a very good actor but we had a very crew worked very hard.
specific idea about how the pace of
the film was going to be and how it was Going on to post-production, how many
going to be performed. In our heads hours did you shoot?
we both saw it as being a very fast-
JQ: About three and a half hours.
paced film and I think he kind of always
wanted it to be more realistic.
How did you approach the edit?
I think his performance works, but within
DQ: Basically, we edited the shots that
the film the pace is a bit slow and I think
we wanted, very crudely – just the shots.
part of that is because it is lacking that
We had a finished film, which was put
heightened energy. Because he is the
together very simply by popping shots
main character he is the pacesetter for
on the timeline and looking at angles that
the film, but the film is a bit slower than
we thought would work out at that point.
I would have liked. We did say that we
It was a simple edit, very straight up with
wanted a quicker pace, but we probably
no creativity whatsoever. We just saw it
should have persisted more.
how it was. And then we kind of went into
DQ: It was the exact same issue with the it, started filtering it and adding little bits
bed scene. We didn’t put our foot down by every time we edited. We went over it and
explaining to the actors that we knew they then we would go back and sharpen the
felt uncomfortable doing it this way, but edit one more time.
this is the way the film has to be and this is
the way we see it. We see the big picture. How long was the edit?
THE PRODUCER
Do you have any useful tips on post- Any other tips?
production?
JQ: Find good people to work with and if
JQ: Have a strong vision, but at the same you don’t find those people don’t be afraid
time have a loose approach so you are to work with a small number of people.
flexible because something might not go
DQ: You don’t need to make a film like
the way you wanted it to. Work with what
everyone else makes a film. You don’t
you have. I think you can make something
need all the things a big-budget film
nice or special if you have that approach.
needs. You can do four roles if you have
Have a strong purpose behind whatever
to, and you can edit on a laptop. Don’t
you do, but also have flexibility.
worry about other people’s standards, just
whatever you need to do to get it done.
JQ: As long as you have a creative idea
and passion.
Daniel and Jesse Quinones – Cage Fighter > Daniel and Jesse Quinones – Cold Calling
Cold Calling
Production stills from Daniel and
Jesse Quinones’s short drama.
Conclusion
The producer
To be a successful producer requires
Conclusion
Above the line the costs to make the film. Editing the creative process of putting
These include the script, producer, director shots/footage together to create the
and main cast and are usually paid as a flat finished film.
negotiated fee.
Equity a trade union for actors. In the UK,
Aspect ratio the size of the screen image. an actor must belong to Equity before being
allowed to perform in any ‘legitimate’ theatre
Below the line all the costs to technically or film. Similar organisations exist in other
make the film, including material costs, countries, but because other organisations
music rights, publicity etc. Usually paid often exist membership isn’t as essential.
on a weekly or daily basis.
Exhibition places to screen in front of an
Berne Convention international agreement audience.
regarding copyright.
Gallery production control room within
Broadcaster an organisation that distributes a television studio.
programme content to a public audience.
Eg the BBC, Sky and ITV (UK), ABC Licence/permission a document that
(Australia), Canal+ (France), CBS (USA), outlines the terms/fee for using music
SABC (South Africa) and NHK (Japan). or footage in a film.
Call sheet a listing of which actors will be Live transmission (TX) a programme
required for which scenes, and when they broadcast to the audience as the event
will be required. happens. Eg Football matches, royal
events, etc.
Clearance written permission, which can
include the rights to script, music, location, Log line a short sentence that summarises
actors and contributors. the programme or film.
THE PRODUCER
Non-linear editing computer-based Researcher person who identifies key
digital editing system that allows footage contacts and sources, and will verify
to be edited and manipulated at the click of information relating to the programme.
a button.
Rushes unedited footage.
Pitch a short description of a programme idea.
Script the written plan and dialogue
Post-production work performed on a film for a film or programme.
after the end of filming (production). Usually
involves editing and visual effects. Seed money money for development,
which may have to be paid back.
Pre-production arrangements made before
the start of filming. This can include script Shooting script the script from which a film
editing, set construction, location scouting is made. Usually contains numbered scenes
and casting. and technical notes.
Press kit publicity package, which Sting a very short visual used between
includes relevant information for a film. features or other items.
Production the stage during which Strapline also known as lower thirds, these
filming occurs. provide information that is placed towards
the bottom of the screen, usually to identify
Programme format a packaged interviewees.
programme idea such as ‘Big Brother’.
Transcript the finished programme
Proposal an outline document that includes including dialogue and interviews.
a description of the project, its intended
audience and why it should be made. Treatment a description of the documentary
outlining the story and contributors while
Public liability insurance which covers conveying its mood and tone.
the production company against claims
for injury or damage to property.
Picture credits
Page 3: Director: Oliver Graham,
Producer: Camilla Boschiero,
Photographer: Luigi Bertolucci
Page 10: © Getty images
Pages 13, 51, 56 and 57: Oliver Goodrum
Page 21: Louis Downham
Pages 22, 23, 24, 25 and 49: Mickey Liu
Pages 26, 27, 36, 92, 137, 138, 141, 143 and 145: Images courtesy
of Chris Downham
Page 38: Universal/Jewel/The Kobal Collection
Page 41: © Serg64
Pages 44, 45, 46, 86, 88 and 89: Joao Trisato
Page 53: Artisan Pics/The Kobal Collection
Page 61: Courtesy of Robert Szmigielski
Page 62: Courtesy of Trick Dog Productions
Pages 66, 67, 85 and 96: Director/Producer Zoe Papadopoulou
Page 68: Portrait Films/The Kobal Collection
Page 71: Zoe Papadopoulou
Pages 72 and 73: Daniel and Jesse Quinones
Page 86: Joao Tristao
Page 90: Roberto Napoletani
Page 93: Charlotte Worthington
Page 98 Radical Media/The Kobal Collection
Page 115: Courtesy of aimimage
Page 123: Courtesy of The Film Office
Page 128: © DeshaCAM
Page 130: © Getty Images
Page 133: © Getty Images
Pages 134 and 135: Jane Barnwell
Acknowledgements and credits