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Hammer and Tong Productions Ltd Transforming Rehabilitation Music Drama Filmmaking Programme Module Guide Code: ES260955 www.hammerandtong.org.uk [email protected]
Hammer and Tong Productions Ltd
Transforming Rehabilitation
Music Drama Filmmaking Programme Module Guide Code: ES260955
www.hammerandtong.org.uk [email protected]
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Contents
1. Key Information………………………………………………2 2. Introduction to the Module………………………………….3 3. Intended Learning…………………………………………...4 4. Intended Learning Outcomes………………………………5 5. Attendance Requirements………………………………….6
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1. Key Information
Module/Unit Title:
Music Dram Filmmaking Project
Module Leader: Name: Edward Shevlin
Mobile: 07845541235 E-mail [email protected]
Module Tutors Name: Fiyinfoluwa Oladimeji
Mobile: 07816931223 E-mail: [email protected]
Module
Practitioner: Name: Roy Knight
Mobile: 07759264863 E-mail [email protected]
2. Introduction to the Module
This module represents a culmination of a six month programme.
You will be expected to make significant contributions to a limited number of these productions by taking on particular roles. Just how you balance your roles will be agreed upon and managed through a series of individual tutorials with your allocated tutor. The production will evolve through weekly production meetings, managed by an allocated tutor and with all key contributors in attendance. This module guide includes all of the documentation to support this and should be relied upon as an on-going reference tool.
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3. Intended Learning Outcomes
Hammer and Tong modules are taught on the basis of intended learning outcomes so that on successful completion of the module, you will be expected to be able to demonstrate that you have met those outcomes.
The learning outcomes are:
On successful completion of this module the client will be expected to be able to:
Knowledge and understanding
1. Employ the specialised media of discipline with the skill and imagination expected of clients in the final stage of the course.
2. Exhibit a familiarity with the artistic contextual debates associated with the project.
3. Present the work in a way that
demonstrates an acute understanding of the requirements.
Practical, effective and transferable skills
4. Work independently or collectively on a time-limited project, setting goals and achieving deadlines.
5. React to the changing demands of autonomous research, making creative use of unanticipated discoveries to achieve unexpected outcomes.
6. Show a complex awareness of any
ethical issues, which the project raises.
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4. Outline Delivery
INTRODUCTION
The Production
The project represents an opportunity for the clients to tell a story and contribute to a substantial film made to a high standard and through an industrial model. We strongly encourage a sense of ownership and identity amongst key players within the production. The Project module will comprise a two-part, 10 minute short film, showing scenes of a crime and the consequences. These could be documentary, docudrama, drama, music video or something more experimental
The production will be allocated a supervising tutor. The production will evolve through weekly production meetings, it is vital that all clients holding key roles attend the weekly production meetings, along with the tutor supervising that production.
Your Contribution to the Production
We expect utmost commitment and responsibility from you throughout this module.
You must pitch an idea for the production by week two. The group will discuss and vote on the different projects and the winning idea will be scripted.
You will have a combination of roles to fulfil in the module from producer to runner which will provide you with the opportunity to gain the widest range of skills and experience possible over the next six months.
Other Potential Contributors
Music and sound design for your film. You are encouraged to develop your own lyrics and sound track.
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Once the script has been developed and finalised, roles are allocated in two basic sections; the cast and the crew who work with the director and the qualified practitioners. The cast will then rehearse the script and block the scenes. This is done in smaller groups and is intended to build confidence and communication skills and to encourage working as part of a team. You will learn many skills including camera angles, focusing, framing and different movements for a camera shot. You will also learn about lighting and the importance of lighting a set correctly to capture the emotional content of a scene as well as learning about recording and how to capture and relate a story using sound and sound design. Editing is the final discipline and will show you how to log and transfer footage, build the footage scene by scene to tell the story and how to add sound effects and music to build tension, atmosphere and emotion into each scene. You will develop a delivery plan working closely with the production team.
The purpose of the delivery plan is to ensure that the timescales and outcomes are achieved. It is a useful guidance tool to keep the timescales on track. The importance of this discipline is to enable you to experience and learn time and management skills. As the process gets under way, you will have on-going production meetings, discussions and your performance and progress will be kept under constant review against your delivery plan. After the pre-production phase, we move into the actual production of the film. Each member of the group will work alongside our own crewmembers. At this point, all the learning and skills developed over the previous months come together both individually and within the group. You will also be filming and editing your own footage of a “behind the scenes” documentary to demonstrate what you have learned, how you have progressed and how you have engaged with the whole process. The post-production stage is broken down into two main sections, the editing of the footage and the composing of the music. One of the sections in your groups will rehearse and develop the sound track. You will then go into the recording studio to record your songs and will also learn the technical side of producing a sound track. An initial assessment and evaluation is carried out for each participant and after four weeks, each person will complete their own feedback form and again at four weekly intervals until the final feedback is submitted at the end of the project. In this way, those with the responsibility for effective
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delivery of the programme are immediately aware of any issues as they arise and can address them with you and make any adjustments necessary to ensure that the project remains on course and that you are given the best opportunity to make the most of the programme.
Pre Production Pack
The pre-production pack includes a range of documents that, when
combined, will comprise a “bible” for your production. Each and every section is essential.
The structure of the PPP has been very carefully thought out and it is essential that each stage is completed before you proceed to the next stage. Not only will this fully prepare you for production the PPP also enables those outside of your production team to assess your readiness for production and advise accordingly, in consultation with the supervising tutor.
The PPP main elements:
1) Production Schedule 2) Shooting Schedule 3) Call Sheets 4) Risk Assessment 5) Permission and disclaimer
Your Production will not be green-lit until you have submitted all of the above.
PRODUCTION SCHEDULE
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Drawn from the Production Planner, the production schedule will allow you to see the specific dates of your shoot and deadlines, book your resources (camera, tripod, microphone etc) and your editing time.
Sample Production Schedule
Dates (examples only)
Description
Pre-production 22/01-04/02 04/02 04/02-14/02
Research, script, casting, locking down locations. Put production schedule together. Production meetings. Aim for a green light for filming from tutor. Prepare call sheets, confirm actors and locations, final location recce and production meeting.
Production 15/02-19/02 Filming Day 1 – locations Day 2 – locations Day 3 – cut-away, establishing shots, inserts
Post-Production
22/02–01/03 02/03 03/03-05/03
Editing Day 1 – log and load rushes, rough cut Day 2 – 6 director’s cut Screening with tutor Fine cut
Delivery 08/03 Delivery of film, production paperwork.
SHOOTING SCHEDULE
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SHOOTING DAY 1
Tues 28th August Cherry Hinton Road, Cambridge
Scene Pages Time Int./Ext
Day/Night Description Location Characters
Art Dept./Special Requirements
4 1 D/1 Ext/Day Oliver climbs
into fruit & veg van
Petrol station
Oliver Fruit van
Market Square, Cambridge
Scene Pages Time Int./Ext.
Day/Night Description Location Characters
Art Dept./Special Requirements
5 1 D2 Ext./Day Oliver meets
Dodger, steals phone
Market square
Oliver, Dodger
Phone
6a 1 D2 Ext./Day Oliver and
Dodger steal a bike
King parade
Oliver, Dodger
Bikes
6b 1 D2 Int./Day
Police in car, watching
crowd. Fagin walks across foreground
King parade
side street
Policemen, Fagin
Police car
17 3 D4 Ext./Day Monks
arguing with Oliver
City Street Monks, Oliver
Oliver change of clothes
CALL SHEET
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Hospital Fire Station Police
Addenbrookes Hills Road Cambridge CB2 OQQ Tel 01223245151
TA Centre Coldhams Lane Cambridge CB13HS Tel 01223403630
Parkside Station Cambridge CB1 1JG Tel 101 Ref 103/12/03/12
Music Video
CALL SHEET 1
Producer: Edward Shevlin Date: 3rd June 2013
Director: Edward Shevlin Crew call time: 08.00 (Coslett 115) Shoot Day: 1 of 5
Sunrise 05:03 Sunset 07:58 Total screen minutes: TBC
Location: Baron of Beef pub, Cambridge Scenes to be shot at location: Main Contact: Roy Knight (1ST AD) Tel: 07554884652 Crew Role Name Start Wrap Contact Tel Number Producer Edward Shevlin 08.00 18.00 Director Edward Shevlin 08.00 18.00 DoP Reece Walker 08.00 18.00 1st AD Roy Knight 08.00 18.00 Sound Recordist Karl Laeufer 08.00 18.00 Boom Operator “ 08.00 18.00 “ 1st AC/Focus puller Lucy Moore 08.00 18.00
Charlie O’Connor Dodger 09.30 10.00 16.00 Cian Sweeney Monks 12.00 13.00 16.00 Lihi Shefer Gang member 09.30 10.00 16.00 Riana White Gang member 09.30 10.00 16.00
Catering: Food will be provided on set throughout the day Parking/Loading and Unloading: Lion yard car park, Cambridge.
Actors Character Contact Tel No Make Up On Set Wrap George Trump Oliver 07954402385 09.30 10.00 18.00
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Equipment Required Canon 6D Lens Kit Battery Pack (+charger) Tripod DAT Recorder SDHC cards x4 Lighting Kit Equipment Location Details
University Details
Anglia Ruskin University East Road Cambridge CB1 1BD
Media Services Details
Media Services Team East Road Cambridge CB1 1BD
Tel 01245 493131 Email: [email protected]
Equipment Pick up Details Equipment Type Pick Up Return Lighting N/A N/A DAT Recorder N/A N/A Rushes/Continuity notes on wrap to: Edward Shevlin Producer Art Dept./Props Prop List Pint glass / own clothes /
Wardrobe: Wardrobe is to be supplied by the actor(s Travel Arrangements 8.30 am Picked up by from outside(A) the University, to be driven to (B) Baron of Beef pub Bridge Street Cambridge
RISK ASSESSMENT
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This form is an important part of planning any production activity. It is important for you to learn how to identify potential risks and discuss them any with your tutor.
Production Details
Production Title: Celia’s Story Your Name:
Pathway: Film and TV Production Tutor:
Scheduled Shooting Dates 23rd
February
List All Crew, Cast & Participants Involved
Name Name
Ensure that this risk assessment is communicated to all those listed above. If your film involves persons under the age of 16, they need to be accompanied by a parent or a chaperone. Local Authority Child Licensing Dept should also be informed.
Your contact, who is normally responsible for managing the location
This information is also required for filming in public places such as stations, parks, streets, cemeteries, car parks, etc.
For campus locations you must notify security
If you are filming on the street you must notify the relevant Local Authority. You are also legally required to notify the relevant local police station
Contact’s Name, Job Title or Status
Contact’s Address Contact’s Phone No
Producer Edward Shevlin 67 Chalmers Road
Police Station Notified for Street Filming? Phone No:
Local Authority Notified for Street Filming? Phone No:
State whether Low, Med or High
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PERMISSION TO FILM AND TO USE THE RESULTING RECORDING
Transport / Traffic
N/A Low Low I will not be filming near traffic or use transport.
Weather / Temperature
N/A Low Low I have looked at the long range forecast and it is good for that day
Terrain
N/A Low Low The terrain is flat.
Working at height
N/A Low Low We will be filming inside
Working near water
N/A Low Low Not working near water.
Poor visibility / Night
N/A Low Low Will be filming in good daylight
Entrance / Exit N/A Low Low Will make everyone aware of fire Exit before shoot
Weapons
N/A Low Low No weapons used on this shoot.
Glass / Sharp objects
N/A Low Low No sharp object used on this shoot.
Fire
N/A Low Low No fire used on this shoot.
Wildlife / Pets N/A Low Low No wildlife or pets in the shot.
Children / Public
N/A Low Low No children or public in the shot.
Falling objects N/A Low Low No falling objects in the shot.
Personal attack
N/A Low Low
Chemicals / Gasses
N/A Low Low No use of chemicals or gasses on the shoot
Hazardous substances
N/A Low Low No hazardous substances used on the shoot.
Cables / Electricity
N/A Low Low Cables will be taped to the floor.
Equipment / Lighting
N/A Low Low No lighting equipment on set.
Ladders / Steps / Scaffolding
N/A Low Low Will be filming on the landing of the stairwell.
Explosives / Pyrotechnics
N/A Low Low No explosive or pyrotechnics on set.
Beach / Sand N/A Low Low No beach or sand on set
Caves / Tunnels /
N/A Low Low No caves or tunnels on set.
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DATE: ………………………………………………………………………………………… I (name): ………………………………………………………………………………………… of (Address): ………………………………………………………………………………………… ………………………………………………………………………………………… …………………………………………………………………………………………
give permission for Hammer & Tong Productions to use the video and audio recordings made by (name of Director): EDWARD SHEVLIN of me and my performance in this film project. I agree that Hammer & Tong Productions have the privilege of ‘final cut’ over the film and the use of all recordings, and I do not have claims to the final commercial rights of the project, unless explicitly negotiated with Hammer & Tong Productions/Edward Shevlin. I agree that the information I have provided is accurate to the best of my knowledge. Signature: ………………………………………………………………………………………………… Signature of parent/guardian if applicant is under 18: ……………………………………………………………………………………………………………
Hammer & Tong Productions Ltd. [email protected]
