Professional Documents
Culture Documents
What is a ROADMAN?
Directors Comments
DOP Comments
6-7
Synopsis
8-10
Festivals
11-12
Character Profiling
13-18
Cast
19-21
Crew
22-26
Composer
27
Locations
28-33
Shot List
34-49
Storyboard
50-71
Directors Statement
72-81
DOP Statement
82-96
Equipment
97-99
Promo Posters
100-103
Social Media1
104-105
Production Plans
106-108
Call Sheets
109-111
Contracts
112-114
Risk Assessment
115-117
Double Cox Production aims to produce high quality video content, on a shoestring
budget. Having experienced knowledge in camerawork, producing and direction,
ROADMAN intends to be a shrine to the best work that the production can produce.
ROADMAN is not just a story about drugs; its a story about friendship, and the
levels that a person will go for someone else. From all of us at Double Cox
Production, we hope you enjoy our journey through the book and understand our
methodology behind our decisions.
Thank you,
I have always had a passion for gritty films. Ever since I started the course I wanted
to film something handheld, something that can breathe organically with every shot,
something that will really deliver emotively. Now I have my chance. The inception of
the story of ROADMAN came from a real life incident in my second year. Simon
Welsford always told me The best stories are the ones that are based on real life.
ROADMAN was no exception. I lost a friend to this world of drugs and urban culture.
I wanted to convey a story that no matter what your background was or how far in a
bad situation you are, there is always someone there for you. No matter what. And I
hope with this film I achieve that.
I always wanted to write and direct. I feel that this is the best style suited for me. I
understand what I want out of the script and I feel I can connote that to the audience
when the film is completed. We have a great cast and crew that are really going to
smash this project out of the park.
Thanks,
Andrew Cox
Media is something that I have always had a connection in all of its forms, TV &
Films in particular, although I do not think I knew in what way I connected with them.
It was only when I went to college to study Creative Media Production that I
understood the processes of filmmaking and my connection to it; the beauty and
wonder of creating something from nothing. Something so complex and intricate but
yet oblivious to the common viewer of the visual medium. It was an illusion of the
eyes and of the mind that brought us as an audience into the fictional realm and
made us a part of a story with its characters. If I described this to you in any other
way you would think I am crazy, but in truth that is what Film & TV do! And I wanted
to discover it.
Although I started with Creative Media Production in College, it was not until 2 years
later that we learned photography and began to fully understand the technicalities of
what creates an exposure and composition. To my delight I understood these
technicalities and enjoyed using them so much I wanted to take them further and that
is what brought me into the area of cinematography. Now I am coming to the end of
my time at university and I have learned so much more about the technicalities and
processes of filmmaking, but I am yet to fully develop and utilize my abilities. This
film, ROADMAN, is my chance to do that and fully appreciate cinematography as a
craft and a profession.
I have also undertaken the role of Producer for this project, it is a role that requires
great communication between the Director & Cinematographer in relation to the
film's vision and creativity, as well as sourcing locations and maintaining
communication with the cast. This is a new role for me but it is an exciting one, as I
set out to try and steer the production of this film to a well received success with high
production values.
ROADMAN itself is a very gritty film with with an aim to focus on realism and the
struggles of friendships, old and new, in the most influential years of our characters
lives. Sometimes the best films in my opinion are not the glamorous Hollywood
blockbusters, but the ones that bring you back down to Earth and the reality of our
broken world. Choosing the right cast, locations and communicating the realism of
ROADMAN through visuals such as colour, light and framing will be key to achieve
our desired reception of this film.
Thanks,
Timothy Willcox
Billy, a hard working student who knew nothing other than the comfort of his family
home and the satisfaction of his studies, finds himself being pursued by a bunch of
thugs who want nothing more than to show him being a nerd doesnt pay off.
After they finally catch him and give him a beating they encounter Jimmy, a tall and
muscled lad who could give a beating as well as he could give it. Jimmy grew up on
the streets and although he didnt care much for nerds, he valued the meaning of
respect and what the thugs were doing to Billy was not it. Catching the thugs by
surprise Jimmy was able to overpower them, scare them off and help Billy find his
feet again.
These two young adults are different by far, in the way they walk, talk and what they
consider a good night. But because of this fateful encounter a friendship was formed
that saw them move into a house together. While Billy helped him with his
coursework, Jimmy looked out for Billy and discouraged anyone who picked on him.
They both have a mutual respect for one another for their individual abilities and
continue to build their new friendship. But as the year goes on Jimmy is reunited with
a friend from the past, a past he is trying to leave behind. Jase is a rough and
unnerving character who grew up with Jimmy when he was still on the streets. They
had a good time together, even if it were for the wrong reasons.
Even though Jimmy had decided to leave that life behind he decided to socialise with
Jase for old times sake, but Jase had other plan. Jase was still involved with the
street and had made it his home, his life. He wanted to get Jimmy involved, but he
did not have the same value for respect as Jim. Jase liked to take what he wanted by
any means necessary, even if it was from an old friend.
The following day Billy has been mugged for his laptop but Jimmy wasnt there to
protect him because of events the previous night. Billy is angry and feels let down
while Jim feels guilt set deep inside of him. He wants to make it up to Bill, but there is
only one way he can get enough money to pay for a new laptop and it was through
the streets and through Jase.
Jimmy reluctantly contacts Jase and does a job for him to get the money for a new
laptop, but little did he know that this was the beginning for bigger things. Jase
harasses Jim with parcels and texts into doing more jobs for him. What began as a
one off stint to earn quick cash has now become a battle of wills as Jimmy reluctantly
falls into the grasp of Jase.
Aware that Jimmy isnt necessarily the most industrious worker, Billy soon becomes
suspicious Jims new found wealth, secrecy and parcels. He decides to follow Jim to
find out what he is doing, but to his despair and confusion, sees Jimmy return to the
streets as a ROADMAN.
In his anger Billy decides to throw Jimmy out of their house and he is left to wander
the dark streets waiting for Billy to calm down. But Jase moves again and invites Jim
to an underpass to prove his loyalty to the ROADMAN trade. Jimmy who now finds
out that Jase was behind the initial attack on Billy that set him down this path, now
seeks vengeance on his old friend who threatened his friendship and his future.
Jimmys size proves powerful as he deals with the first few thugs, but outnumbered
he eventually is brought down with a succession of hits by Jase while his back is
turned. As Jim receives a beating from the three towering above him, they are
surprised by Billy.
Being the kind natured and good guy that Billy is, he could not stay angry with Jimmy
for long. So he went to look for him and invite him home but was again dismayed by
Jimmys confrontation with Jase and his thugs.
Before Bill knew what had overcome him he set off into the underpass
laptop/backpack in hand ready to help his friend in anyway he could, just as Jimmy
had helped him out before. Catching Jase and his thugs off guard Billy is able to
knock them all out and help Jimmy up off the ground, sending them running for fear
of Jims size and capabilities.
However Jase was knocked cleanly out and is left lying on the floor of the underpass
as Billy forgives Jim and helps him back home.
10
As part of our short films distribution we have decided to broadcast it via several film
festivals. Two of which are featured on this page:
The Colchester Film Festival is a relatively local festival if we or the cast wanted to
attend its screening and is free to enter which is ideal because of our limited budget.
For its submission all films would have to be 26 minutes or less to clarify as a short
film, which is suitable because our script is 20 pages long. If we worked to a page a
minute, give or take for artistic licenses and we would fall right into that category.
Submissions open from January and the deadline is in July 2016 which also lines up
with our estimated deadline for this project in May.
11
BUFF DETAILS
Length 5-30 Minutes (Or Less) = Short Film
Cost 25
Location London
Opens TBC
Deadline July
Submission DVD
The British
Urban
Film Festival (BUFF) is what I would consider to be an even more exciting choice of
film festival regarding ROADMAN. Although there is a submission fee of 25, are film
falls further into its categories and style for submission in contrast to the Colchester
Film Festival. BUFF is focused around Short, British Films, surrounding the subjects
of Children & Young People as our University and Street settings provide. Our
carefully chosen cast have also been able to impress us with their lifelike street
mannerisms which we believe will create an even stronger argument for
ROADMANs association with British, Urban, Youth / Young Adult Culture. This
festival is also hosted locally in London and the deadline for the submission is in
July, again fitting in with our estimated deadline.
12
Billy is a sensible guy who has always been the good boy in his life. He stays out of trouble
and works hard to achieve good grades in his studies. His day would start at 7, managing to
fit in all the necessities of a morning routine (breakfast, shower & dress) before packing his
bag to leave for university. If he wasnt in class he would either be at the library or at home in
his room, fixing computers & laptops for his coursework.
Despite Billys hard working attitude he does not have a strong physical presence to
deter the people who might bully him for his nerdiness. Because of this his
motivation and coursework suffered; thats when Jimmy found him. Jimmy protected
Billy from his aggressors and in return Billy helped him with his coursework to repay
his debt. They both passed the first year and since then the two have been a team
and good friends.
Gender: Male
Age: 20
Nationality: British
Name: Billy
Birthplace: London
Marital status: Single
Distinguishing features: Weaker minded of the two friends, Industrious
Occupation: Student
13
14
Jimmy is a confident and well built lad who came from a good family. They looked
after him and paid for his education, but having no stake in his own education,
Jimmy invested his time in the wrong crowds. He learnt how to look out for himself
on the streets and works hard in other areas of his life like the gym and nightlife.
Although he manages to keep himself grounded and out of trouble for the most part
because of his upbringing, he doesnt care much for his education and only likes
university for the student lifestyle.
This is where he met Billy, a nerdy kid who could barely hold up his overbearing
backpack let alone defend himself against a group of bullies. Jimmy knew the
importance of respect from his own involvement on the street when he was younger,
so he stepped in to protect Billy from his aggressors. In doing this he earned the
respect and gratitude of Billy who was happy to help Jimmy with his coursework to
repay his debt. They both passed the first year and since then the two have been a
team and good friends.
Gender: Male
Age: 22
Nationality: British
Name: Jimmy
Birthplace: Medway
Marital status: Single
Distinguishing features: Leader of the Two Friends, Lazy
15
Occupation: Student
Financial situation: Poor
Why: Student lifestyle, Paying for House, Partying
Criminal record: None
For what: n/a
Education: Further & Higher Education
Residence: Student Rented Home
Who are Parents?: n/a
Any siblings: None
Best friend: Billy
What was childhood like?: Fun, Social, Centre of Attention, Mischievous
Mode of travel: Walking
Hobbies: Nights Out, Drinking, Gym, Sport
16
Jase grew up with Jimmy on the streets and has a similar value in respect, work ethic and
smarts. But unlike Jimmy, Jase didnt have a stable family for him to go to university, so he
made his living on the streets and became a respected Roadman around Medway. Unknown
to most who encounter him, Jase has money, power & respect. He earned this fighting his
way to the top of the social ladder from when he was a teen, Jase has become a leader of
the streets and has loads of thugs at his back.
But this is not for respect, but his ability to unnerve, manipulate, peer pressure and
blackmail his employees a.k.a. Roadmen into doing his dirty business; drug dealing.
So when Jase and Jimmy are reunited on one fateful night, Jase sees an opportunity
to bring an old friend back into the game for old times sake.
Gender: Male
Age: 25
Nationality: British
Name: Jase
Birthplace: Medway
Marital status: Single
Distinguishing features: Uncomfortable Presence, Assertive Attitude
Occupation: Roadman / Drug Supplier
Financial situation: Good
Why: Makes a more than decent living off supplying drugs to Roadmen and
collecting interest from sales.
17
18
Although Andrew has limited on screen experience when it comes to acting, we can
safely assess his work ethic and attitude towards the productions he is involved in
due to the high production values of the films he has starred in. Featuring alongside
music artists such as Lucy Spraggan, Lemzi & Maverick Sabre as well as a TV
advert for the local council.
In most of his performances Andrew plays the
role of the Victim, he acknowledges and
understands this role because of his small in
size and frame. Andrew looks young and
innocent and uses this to the strengths of his
roles during his showreel and in the video
audition he recorded for us as the role of Billy.
He is emotional, passionate and conveys a
true sense of Billys longing to be someone
and escape from this cycle of bullying and
desperately crying out to Jimmy to help him.
Furthermore when calm he comes across as a
smart youth he keeps his head down and
would be kind and friendly to anyone.
Andrews previous experience as the role of the victim moulds well with our
Character Billy and can easily be shaped in way in unison with the other cast to
make the Director's vision come to life.
For Andrews monologue, check the USB stick attached.
19
Malik Kaddu, similar to Jimmy is a tall and well built lad who keeps himself out of trouble.
From his audition we gathered his deep, commanding voice and personality almost fit Jimmy
right off the bat and works even better when he undertook the role in his audition.
Malik also has a high degree of professionalism to him, featuring in big budget
productions and photo shoots for companies like Adidas, Nike, Puma, KFC &
Guardians of the Galaxy.
So why has Malik decided to join our
production, because he is looking to feature
in a main role in a high value production to
testify to his ability to perform at a high
standard and work professionally. He is not
fresh on the scene and knows his trade and
will work hard to create a believable
performance in our film to help excel himself
in the performing arts industry.
20
Jay throughout the whole casting process has been a joy to communicate with and in
the future hopefully work with.
Since the application process he specified 2 characters in the film that he would like
to apply for in his cover letter, showing that instead of blindly applying he took the
time to read and find out more about our project. Not only that, when asked to
present a scripted video audition he alternatively recorded an improvisation of the
character.
21
CHARLIE ANSELL
ROLE LIGHTING
22
MARK COOPER
We have known Mark for the length of the course, and know his work ethic is
brilliant. Choosing him for sound op was the easiest decision to make out of all the
crew. Having extensive knowledge on sound equipment, Mark will play an
instrumental part in our production.
Mark singlehandedly was the sound operative for last years studio production, which
was a massive task. Everything sounded great on the day all because of this man.
Welcome to the team, Mark.
23
JOSHUA JONES
Josh is a first year member on the course we are studying at. After being acquainted
on Facebook, I was happy at his work ethic on productions such as work on Take
Me Out and Mister Maker and could see he is hungry for more work, no matter how
big or small. We feel we need to give back to the course for our opportunities so
looked to the first years.
I also checked his first year film out and was impressed with the effort and the shots
he used in it. Based on this, I decided to approach Joshua and offer him a
crewmember role. Someone who is hungry to help others and offer their own
expertise is what I am looking for, and Josh fits this mould perfectly.
If anything, the experience in being on a third year major shoot will allow Josh to
understand the undertaking of a project to our scale and what to expect.
24
HARRY TAYLOR
Weve known Harry for a few years on the course, and know he knows his stuff when
it comes to cameras. An absolute asset to this project. He is in the second year of
the course. After seeing his portfolio there was not a doubt that Harry would be
needed for our shoot. A camera in his hand is like a mere extension of his body.
Welcome to the team, Harry.
25
COLLEEN ANDERSON
Colleen has done some great work on previous projects on the course, such as
Wildflower, in which the makeup and special effects involved were second to none.
Hopefully she can continue her work and produce outstanding makeup on our film.
26
We placed an online advertisement on Music Network Pro, sister site to Casting Call
Pro to find a composer who would be suitable for our production. Two composers
applied for the role. There were two factors in the choosing of the composer, one
being punctuality, and other other being quality. We needed a person who was
willing to work with the idea in enough of a time frame for us to meet too.
Brett James was our first composer, and had a very fast turnaround when it came to
producing a sample track, but unfortunately it didnt fit the brief, we gave several
chances based on feedback but it just didnt fit what we were after, which was a
shame because of the work ethic.
Rupert Uzzell offered more promise in what he produced but a slower turnaround
time. Having said that, the music produced fit the brief perfectly, with levels of grit
and mysteriousness. Theres a long time before post production, which we will give
Rupert a chance to develop his skills on our piece. But overall, his quality is exactly
what we need.
For a sample of the tracks Rupert has produced, check the memory stick attached
under Composer.
27
Student House
The student is an ideal location for ROADMAN.
Not only is it already rented out by students to
create a similar atmosphere to the one we
desire, it is also can operate as our secondary
production base, by providing shelter and
refreshments for our Cast & Crew. It is also
cheaper because we can borrow the location
from other students rather than paying expenses
to hire it out for a limited amount of time.
28
Underpass
The Underpass is a gem of a location for its isolation & grit. After we carried
out our test shoots in this location we learned that it was rarely disturbed. Our only
issue is that the interior lighting appears to be broken, however this was fixed by
bouncing our lights off the ceiling, making this a suitable location
29
Lecture Room
30
Streets
31
32
Casino Rooms
This nightclub was a fairly late addition to our locations roster, although we
had aimed to include it sooner there were complications over the content of the story
and unresponsive sources. However after a bit more nagging and a small financial
incentive we were able to provisionally secure Casino Rooms as the location of our
club.
33
34
Scene 1 & 2
STYLE
SHOT TYPE
Visual
Audio
ARIAL
W/S
URBAN SKYLINE
Music
TRIPOD
GV
URBAN STREETS
Music
TRIPOD
GV
CARS PASSING BY
Music
TRIPOD
LS
Grey Skies, slightly windy' - Empty backalley, bushes moving in the wind, rubbish
floating.
Atmos
HANDHELD MCU
breathing
HANDHELD MCU
gasp
TRIPOD
Stop'
TRACKING MID
HANDHELD SHOT
DOLLY
LS
GET HIM
HANDHELD W/S
GEEK STOPS as shoulder in frame someone on the other side of underpass. Turns
around
HANDHELD MCU
GRAB HIM
GEEK looking around for escape, sees a thug pull his phone out. EMPTIES bag. Thug
steps forward and throws punch
empty his bag, record this'
HANDHELD M/S
Who's that?!
35
silence
HANDHELD MS JIMMY
HANDHELD LS UNDERPASS
MS BILLY DS
HANDHELD JIMMY
I don't know.
HANDHELD LS UNDERPASS
Yeah.
Jimmy inroduction
'
Yeah.
'
MS BILLY DS
HANDHELD JIMMY
'
HANDHELD
BIlly nods
HANDHELD LS UNDERPASS.
36
Scene 3
STYLE
SHOT TYPE
Visual
TRIPOD
TRACKING MS
TRIPOD
Audio
Buttons tapping
Box sound
Sits on sofa.
W/S
Jimmy responds
do it later
W/S
REMEMBER THIS
W/S
2S MCU Sofa
Cheers'
C/U Bottles
CLANG'
CLANG
Scene 4
STYLE
SHOT TYPE
Visual
Audio
TRIPOD
C/U
Jimmy asleep.
CLANG RINGING
TRIPOD
OTS Lecturer
TRIPOD
TRIPOD
MS lecturer
Talking to class
TRIPOD
Shuffling
TRIPOD
37
TRIPOD
TRIPOD
CU OTS BILLY
Billy frowns
TRIPOD
Scene 5
STYLE
HANDHELD
HANDHELD
HANDHELD
HANDHELD
HANDHELD
SHOT TYPE
W/S
2S
MCU 2S BILLY JIMMY
2S
CU JIMMY
CU BILLY
Visual
JIMMY AND BILLY WALKING
Billy asks Jimmy
Jimmy stops
Jimmy looks away from Billy
Jimmy talking to Billy
Billy smiles
Audio
Are you sure...
nobody can hurt you...
Repaid you....
You don't have to...
Scene 6
STYLE
SHOT TYPE
Visual
Audio
HANDHELD
LS JIMMY
CLUB MUSIC
HANDHELD
C/U JIMMY
CLUB MUSIC
HANDHELD
LS BILLY
CLUB MUSIC
HANDHELD
C/U BILLY
CLUB MUSIC
HANDHELD
POV Billy
CLUB MUSIC
HANDHELD
CLUB MUSIC
HANDHELD
CLUB MUSIC
38
Scene 7
STYLE
SHOT TYPE
VISUAL
Audio
HANDHELD
MS
Club music
HANDHELD
CU
Billy unnerved
Club music
HANDHELD
CU
Club music
HANDHELD
MS
Club music
Scene 8
STYLE
SHOT TYPE
Visual
Audio
HANDHELD
MS Billy
Club Music
Club Music
HANDHELD
HANDHELD
OTS BILLY
Club Music
HANDHELD
CU Billy
Club Music
HANDHELD
Club Music
HANDHELD
OTS JASE
Club Music
HANDHELD
CU JASE
Jase Nods
Club Music
HANDHELD
3S
Jase accepts
sure'
HANDHELD
HANDHELD
MCU Billy
HANDHELD
3S
HANDHELD
HANDHELD
HANDHELD
MCU JASE
HANDHELD
Chit-chatting
HANDHELD
Chit-chatting
Uni init
HANDHELD
Chit-chatting
39
HANDHELD
Chit-chatting
HANDHELD
CU jase
ROADMAN enquiry
HANDHELD
CU Jimmy
Disapproves
HANDHELD
HANDHELD
CU JAse
Scheming
Club Music
Scene 9
STYLE
SHOT TYPE
Visual
TRIPOD
MCU
WS
Slumps on sofa
C/U
Audio
Relief
Hear Billy come through
TRACK
TRACK JIMMY
What's happend
TRIPOD
Billy talking
TRIPOD
CU Billy
Billy talking
TRIPOD
TRIPOD
CU Billy
Recounts event
TRIPOD
2S
TRIPOD
W/S
TRIPOD
Jimmy processes
TRIPOD
CU Jimmy
TRIPOD
2S
Billy talking
TRIPOD
CU BIlly
TRIPOD
CU Jimmy
40
TRIPOD
W/S
TRIPOD
MCU JIMMY
TRIPOD
TRIPOD
STYLE
HANDHELD
SHOT TYPE
Tracking shot
LS Jimmy
Visual
Jimmy walking toward location over bridge
Jimmy walking toward location - side alley
Audio
Atmos
stmos
Scene 11
STYLE
HANDHELD
HANDHELD
SHOT TYPE
Pan to Jimmy
POV Jimmy
Jimmy CU
W/S
OTS BUYER(TO)
TRACK (TO)
CU JIMMY
Visual
Jimmy enters the backalley
Voyeuristic Jimmy
Breathes, walks forward
DRug dealer against wall, jimmy enters and heads toward
Drug dealing commences
Buy talks confidently
Jimmy reluctantly accepts and transitionss
Buyer leaves frame
Jimmy acknowledges, pulls hood up and leaves
Audio
atmos
atmos
atmos
atmos
talking
taling
talking
atmos
atmos
41
Scene 12
STYLE
TRIPOD
TRIPOD
TRIPOD
TRIPOD
TRIPOD
TRIPOD
TRIPOD
TRIPOD
TRIPOD
SHOT TYPE
MCU BILLY
W/S
MCU BILLY
MCU JIMMY
2S Sofa
CU Jimmy
W/S
MS Billy and Jimmy
CU Jimmy
Visual
Billy's watching TV
Jimmy opens door with package
Jimmy hands package
Jimmy talking to Billy
Billy talking to Jimmy
Jimmy talking to Billy
Jimmy goes to leave room
Billy holds up package
Confusion
Jimmy leaves
Audio
aw jimmy...
You deserve it
How'd you get moneyy
You're on your way
JIMMY WAIT!
Cheers mate
Scene 13
STYLE
SHOT TYPE
Visual
TRIPOD
MS JIMMY
Jimmy sits on his bed, starts opening package, reads note *text on screen*
TRIPOD
CU PACKAGE
Package contents
TRIPOD
CU JIMMY
reaction shot
TRIPOD
MCU
TRIPOD
MS JIMMY
Jimmy whats up
Learn to knock
TRIPOD
Audio
picking up contents with back to billy (Jimmy left & Billy right of frame)
PULLFOCUS BILLY
TRIPOD
MCU JIMMY
TRIPOD
CU BILLY
Billy confused
What?
TRIPOD
\]TRIPOD
MCU Jimmy
TRIPOD
LS Jimmy's Bed
42
TRIPOD
MCU Jimmy
Phones dialing
TRIPOD
CU Jimmy
Phone answered
now?
right.
TRIPOD
LS Jimmy's Bed
Scene 14
STYLE
TRIPOD
TRIPOD
TRIPOD
TRIPOD
TRIPOD
TRIPOD
TRIPOD
SHOT TYPE
W/S
MCU BIlly
LS
C/U
C/U
OTS Laptop
C/U
Visual
Billy goes back into front room
Examines Map
Billy goes on computer
Billy focussing
Billy's hands on keyboard
Google maps location
Billy confused, scratching head
Audio
Scene 15
STYLE
SHOT TYPE
Visual
Audio
TRACK
OTS Jimmy
Jimmy opens door and peers round corner into living room
Door close
TRIPOD
W/S
Tele noise
TRIPOD
TRIPOD
CU Jimmy
Jimmy turns around and walks toward door, closes behind him
Door close
TRIPOD
CU Billy
TRIPOD
MCU Billy
43
Scene 16
STYLE
SHOT TYPE
Visual
Audio
TRACK
MCU Jimmy
TRACK
MCU Billy
TRACK
RACK FOCUS
TRACK
OTS BILLY
Billy following
TRACK
CU Jimmy
Jimmy turns
HANDHELD
CU Billy
Billy hides
HANDHELD
OTS BILLY
Billy hiding
HANDHELD
MCU Jimmy
MCU Billy
Scene 17
STYLE
SHOT TYPE
Visual
HANDHELD
HANDHELD
MCU Jimmy
HANDHELD
W/S To Underpass
HANDHELD
MCU Billy
TRACK
MS Jimmy (to)
TRACK
MS hooded person
HANDHELD
MCU Billy
TRACK
MCU JIMMY
TRACK
Audio
yo' to
man'
got a discount'
please'
44
HANDHELD
OTS Billy
Billy watching
HANDHELD
MCU Billy
Billy confused
HANDHELD
MCU Jimmy
HANDHELD
LS Underpass
HANDHELD
MS Billy
Billy leaves
TRACK
Talks to jase
MS Jimmy (to)
Hits wall
Scene 18
STYLE
SHOT TYPE
Visual
Audio
TRIPOD
WS
hello mate...
TRIPOD
Dont talk to me
TRIPOD
CU Jimmy
Jimmy Confused
What?
TRIPOD
Oh im sorry...
TRIPOD
CU Billy
TRACK
2S Float
TRIPOD
Drug Dealer
TRIPOD
TRIPOD
CU Billy
Get out' to
OTS Billy
Jimmy leaves
CU Billy
*exhales*
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Scene 19 and 21
STYLE
SHOT TYPE
Visual
Audio
HANDHELD
MCU Jimmy
HANDHELS
MCU Jimmy
STYLE
SHOT TYPE
Visual
TRIPOD
MCU Billy
Audio
CU
Scene 21
STYLE
SHOT TYPE
Visual
Tripod
LS Sofa
Tripod
Tripod
CU Billy
Tripod
MS Billy
Audio
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Scene 22
STYLE
SHOT TYPE
Visual
Audio
Handheld
LS Underpass
Walking, atmos
Handheld
OTS Jimmy
Walking, atmos
Handheld
DS OTS THUGS
Wlaking
Handheld
Handheld
Easy fella'
Handheld
CU Jimmy
Handheld
CU Jase
Jase talking
Handheld
Jase talking
Handheld
MCU Jimmy
Jimmy talking
Loyalty?
Handheld
Handheld
OTS Jimmy
Throws money
Handheld
what cos...'
Handheld
MCU Jimmy
Jimmy talking
MCU Jase
Jimmy talking
Handheld
Jimmy confronts
Handheld
now now....
Handheld
OTS Jimmy
Handheld
MCU Jase
Jase talking
Handheld
CU Jimmy
Jimmy talking
Handheld
MCU Jase
Approves
Shuffling
Handheld
Shuffling,
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Handheld
MCU FLOAT
Shuffling, punches
Shuffling, punches
Shuffling, punches
Handheld
DS Jimmy
Shuffling, punches
Handheld
MCU FLOAT
Shuffling, crunch
Handheld
CU WALL
Shuffling, crunch
Handheld
Shuffling, gargle
Shuffling, gargle
MCU Jase
POV Jimmy
Kicking, shuffling
POV phone
hahaha
POV Jimmy
Jimmy fading
Handheld
HANDHELD POV Jimmy Blurred seeing Billy smash thugs up the head
HANDHELD CU Jase
What the-
HANDHELD POV Jimmy Blurred Jimmy sees person smashing jases head on floor, throws laptop on floor SMASHES, shuffling
walks into frame, is billy
HANDHELD MCU Billy
Jim?
TRACK
Bill?
Jimmy speaks
is it broken?
2S
HANDHELD MS Laptop
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TRACK
2S
Billy speaks
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Genre
I would class this as a drama; I want to give the feeling of uneasiness and the feeling
of being constantly followed by an unknown threat from both characters. The idea for
this came from one of my favourite films, Harry Brown, which is one of my primary
sources for this piece. The slow paced rhythm of the piece also puts it in this genre.
Time Period/Location
The time period is modern UK. I don't think a period piece would have the same feel
to it given the themes and story of the short film. The location would be gritty urban
areas, to give the effect that the main characters dont have enough money to move
into a nice area, this also give purpose to why there is a drug dealer, as it wouldnt
make sense if the drug deal was in a nice upper class suburban village.
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The location is set around the gritty estates of the UK, this is used heavily in TV
Shows such as TOP BOY, which series aims to provide an insight into life in London
estates, and how drugs affect everyone living there. In a way, thats what I want to
achieve with my film, as small insight into the drug culture associated with the UK
streets and the ROADMAN name.
Characters Goal
The goal of each of the characters is different. It starts off as both of the guys want to
pass their final year at university, after scoring a house to live in together. Billy wants
to focus on passing the year after having a bad year due to bullying.
Jimmy helped billy out last year because of the person he is and they developed a
friendship over it. As the story progresses, the goals change. Jimmy is doing what he
is doing because of what Jase is forcing him to do, the constant need to do things so
his friend doesn't get hurt.
Cinematic Techniques
Lets talk cinematic techniques. I want a clear division in the connotation of my shots.
When the scene is interior, such as at the student house, or on campus, the shot will
be on sticks. I want this to give the connotation that when inside, they are safe,
comfortable. Non worrying. Then eventually when the film gets outside into the gritty
urban streets, it will be shot handheld. Handheld can give the look of gritty, isolated
and uncomfortable.
I pride myself on using handheld is my fort in shooting, and ROADMAN is no doubt
not an exception. However, that is just for close ups and mid close ups. When a
handheld camera is shooting wide, it can give the illusion of somebody watching,
stalking or eavesdropping, because the movement mimics a human slightly moving
and breathing. Also in terms of manoeuvring the camera and getting into positions
quicker cannot be achieved with a standard tripod.
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As I said. Close ups are going to be big part of the film. The uneasiness of a close up
will really hit home the grittiness of the film and the isolation of the characters on the
scene. Again if we refer back to Harry brown this plays a massive factor in the
atmosphere of the piece. In this shot, you can see a conversation, but the
conversation is shot closer, to give the uneasiness factor, isolating the frame instead
of using background or mise-en scene, it uses the characters emotions in the scene
as a focal point, which is what I hope to achieve in my film. Below is an example I
used in a test shoot, based on one of the scenes of ROADMAN. This is how I want
the powerful scenes to be stylised and shot like.
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Shallow depth of field and racking focus will play a massive part in the imagery of my
film. Isolation and grit plays a massive part in the films storytelling, so using this is a
great way of choosing the focal point of the frame. To back this up in imagery form, I
performed a test shoot (See USB Contents page) to show how this works and how
we can perform longer shots without cutting using shallow depth of field to tell a
story.
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When shooting, conversations must make sense. Following the 180 degree rule and
making sure conversation is continuous. As we are using a single camera set up, its
important we follow this to make the edit process so much easier. If we follow the
diagram below, which I found in Grammar of the Shot By Christopher J. Bowen and
Roy Thompson
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If I use mainly close ups with narrow depth of field, I can use a method described by
Danny Draven as the Floating Camera Method (Draven.2013:128) . The camera is
on a dolly or handheld, but is floating between a conversation. Using the same
methodology in the diagram I can float between the actors that are talking on screen,
this will intensify the scene because of the lack of cuts, plus brings the focus of the
audience to which ever character we need to focus on.
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A shot that I would like to look into as my film focuses ringing at anytime and I think
that this shot would benefit from this shot. After reading Genre Filmmaking by
Danny Draven, there is this shot called The Urgent Call, in which a phone interrupts
a conversation, and the reflection of the character. Danny says in the chapter on
Urgent Call. He says Its a great way to combine an ordinary shot of a phone with
an emotional reaction of a character and draw attention to the importance of the call.
(Draven. 2013:226)
As you can see in the image collage above, the tension is built up in Prison Break
when Jonathan points a gun at T bag, which essentially is a life or death situation.
Its interrupted by a phone call, which heightens the tension throughout the room. If
we reflect this into my film, The film revolves around the use of a phone, so when the
phone is in play, we can use this shot to heighten the tension.
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Instead of a table, maybe the phone reflection in the shot. Ive done this before in a
previous project so I know I can make it achievable. Below is a screenshot from my
documentary unit, in which I showed Mark dialling a phone. I focus firstly on what the
number is being dialled, followed by the reaction in the reflection of the phone.
The shot is simple to set up, but very effective in execution if done properly. As an
audience member, it clarifies who the phone text is dialling and who is dialling it, all
in a nice, pull focus shot.
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Mood
This kind of links in with the genre in a sense, as the overall mood of the piece is
quite gritty. I want the audience to feel like the characters are being watched,
followed. Putting this in context with the story, Jimmy is dealing drugs, and fears he
will be caught out.
Sound Design
Sound will be used in very small parts in the film,to add atmosphere. The start will
simply be basic noises that the character makes around the environment e.g. the
sound of getting out of bed, the feet on carpet, the sound of crumpling underneath
feet, scratching his head e.t.c but as this overall scene passes, I will have a smooth
piano playing in the background, linking into the sad mood of the film. This is based
on the concept of minimalism. Minimalism is using extremely simple sound to tell a
story, which can be just as effective. Our composer is great at pure grit so his
minimalistic sound track will carry our piece to the next level.
Costumes
The costume design will follow the trend in what urban street wear is worn in the
modern UK. Tracksuits for the thugs to give that lower class image because
tracksuits worn appeal to that demographic more than others. Billy will be wearing a
check shirt and jeans, with glasses, enforcing his socially awkward, nerdy attitude.
The reason for this is that you can differentiate who is who and their characteristics
reflected in their outfits.
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Props
There are several packages used in the film. The big ones are the drugs (ecstasy to
be specific) which is the main club drug according to the NHS club drug site. The
film in itself doesnt focus on props as much, but more of the mannerisms and
conversation. Jimmy buys a computer for Billy, so that is another prop, followed by
the climax in which Billy hits ajse with the laptop.
Performance
For the performance, it is going to be a very emotive piece from the actor sthat the
story is focusing on. I want to give the impression of isolation and being followed,
which is the point of the script. All the actors involved have been picked with a fine
toothed comb and I am confident they will follow my direction and act to the best of
their abilities.
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In my opening statement I talked about my upbringing and the events that lead me to
undertake this project from a cinematographers viewpoint. ROADMAN is a short film
and narrative drama that began with a dark theme, two friends that have different
values and priorities to their lives that eventually drags them both apart and
progressively to an unpromising end to their relationship. It was going to be dark,
gritty and aimed to convey realism by not necessarily having an happy ending.
During the pre-production of this project, we received feedback that altered some of
the key points of our film and the eventual outcome. Although ROADMAN still
contains themes surrounding realism, grit, dark and sad natures, it primarily focuses
on the friendship between our two characters and how it is tested to the extremes.
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How The Action & Emotion In The Film Dictates The Tempo, Motion & Look
As a DP I will aim to produce a mix of slow and unnerving shot types using light
sources to reflect our characters uneasiness, as well as high impact and fast paced
imagery as we move between characters perspectives to create the illusion of
adrenaline and action in short sequences such as an argument or fight breaking out.
Similar to what can be seen in Top Boy S1: E1 during the last 5 minutes of the
program.
As Kamale and his thugs pull a raid on Dushane and Sully the camera movement
and sequencing moves from slow analytical and reflective shots during the low point
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of the story to fast and furious, with shaky movements and quick pans between
characters to catch everyone's reaction. Despite Top Boy being a professional
production, the outcome of these scenes are hard to see because of its movement
and blurriness, however to translate how the characters are feeling in the current
situation there are exceptions to how it was filmed, temporarily losing almost all
conventional methods of filmmaking and therefore some quality in the scene at that
time to achieve a lifelike presence for the audience in that place as the raid was
happening.
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A lot of the credit can be given to the editor for the way the shots are cut together but
it is the cinematographer's vision that created the structure for these shots to be
sequenced into a coherent order for the editor. Fast edits like in the scene mentioned
as well as the film Harry Brown, 55 minutes in where Harry attacks and kills two
drugs and arms dealers. In a flash 5 cuts happen in under 5 seconds, displaying how
a carefully planned out shot list and edit can help audiences digest visual images
and details at lightening speeds.
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When we commenced Test Shoots to re-create this style we really liked the
handheld and slow paced shots that create tension between our characters. This
was done by using static handheld shots, floating and panning/tilting between key
points in the frame throughout the scene including narrative and actions
We found by completing scenes in one take using a floating shot featured in About a
Boy (2003) as well as the programs and films previously mentioned, that we are able
to stay connected with the live responses of our characters, allowing them to breathe
and be seen as imperfect and struggling during tense and critical moments in the
film, rather than it being covered up by the aesthetics of cuts in an edit. With a
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powerful and convincing cast, moving music and grimey colour tone we will be able
to really translate our characters emotions to our audience which is my ultimate aim
as a DP.
Filming Narrative
In regards to filming the narrative scenes of ROADMAN I am highly inspired by the
effectiveness of London to Brighton. Although due to collaboration with the director
we will have to share some visual styles, however London to Brightons ability to
interchange more or less between a wide shot / long shot and a close up or medium
close up two shot throughout the entire film was outstanding for me.
Wide shots establish the scenes, introduced new characters and gave the audience
and cast a chance to breathe and escape from the close up tension for a brief space
of time before moving onto the next scene or line of dialogue. Everything else was
characters conversing, giving dodgey looks or capturing reactions. I found it worked
extremely well in bringing the audience into an intimate relationship with the
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characters themselves, in particular the victims. Or striking fear and nerves into your
heart as the audience as you look into the deep piercing eyes and menacing face of
the antagonists.
During fights or arguments as mentioned earlier, the cuts become fast paced and
slightly shaky and blurred to simulate the audience's presence in the scene. Other
times during narrative the edit slows right down and provides us with a personal face
to face experience with either the protagonists or the antagonists. This shot type
works so well across the urban street culture for its grit and relentlessness at putting
us as the audience in an uncomfortable positions with a strong cast, that almost
every film I have referenced uses this at some point in their film / program and then
return to a wide shot / long shot.
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Both Billy & Jimmy are good friends and close up shots between them and cheerful
actions, colours and music will enforce this. On the flipside, when we meet Jase in a
more threatening colour tone, with suspicious actions and tense music, the close up
shots between him and our protagonists will symbolize a very different meaning to
the audience. While filming these intense encounters we can expect to be handheld,
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enabling us to use the floating camera technique to switch between speakers, any
action that takes place and maintain the illusion of the audience's presence in the
scene as a voyeur.
Tracking Billy & Jimmy as they walk the streets was always going to be tricky.
Whether I pull focus as they walk away from or towards the camera, alternatively I
can walk with them handheld. The director and I decided on the handheld option to
keep continuity with the audience being a person in the scene, rather than being a
bystander in the distance. This again will allow me to use the floating technique
between the characters and follow them fluidly instead of cutting a lot in the edit
which we feel would detract audiences from their connection with the characters.
Ill Manors uses a handheld style to track their characters walking towards them and
with them, it works effectively at creating the illusion of joining them on their walk
rather than being a bystander which is our goal for the scenes where we find Billy &
Jimmy navigating the streets. The only difference is that we would like the shots to
be tighter so we can maintain the audience's connection and intimacy with the
characters. Because the camera will not be attached to any sound recording
equipment, while tracking I will have freedom of movement and using one of our
crew as a spotter as I walk backwards will be necessary to carry out this intended
shot.
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Both the director and I like the visual style of shooting with a desaturated image and
we understand the flexibility it grants us during post production. As I previously
mentioned I do not want to glamourize the films image so recording desaturated aids
the style of being brought back to reality and reflects what the darker, grimier sides
of the streets that our ROADMEN originate from.
Interior locations will have their own sustained lighting sources for our production
and for exterior locations the daylight will be enough. However if, like in our test
shoot we colour it in post to have an even darker exposure we will need to focus our
lighting equipment into key areas of the scene to either highlight something specific
or evenly diffuse a brighter light source over the entire scene. This particularly
applies to our test shoot where we were filming in an underpass.
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The underpass is out of the way for an ideal and isolated scene recording, however
at initial glances on our recce the interior lighting appears to be broken. Using our
lights we were able to illuminate the underpass by bouncing lights off the walls and
the ceilings to improve our visual quality. However this was trumped in our test shoot
edit when we opted for a darker colour tone. Because of this I will have to be much
more critical and mindful of how much light we can use in the scene to collaborate
with the chosen colour tone during the edit. On a side note, it does help bring out the
detail in our location and draws our eyes to it similarly with scenes in Harry Brown.
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The only other scene that will have another colour tone is the Nightclub. Although
this is an interior scene, Andy and I decided on a different colour for this because our
characters, in particular Billy is not comfortable in this environment so we should not
use the natural colour tones, but neither is it isolating so we should not use blue.
Instead we decided on a reddish colour tone, stereotypically symbolizing danger but
in addition to our film, our aim is to signify potential threat, unease and wariness, that
we hope will translate well to our audience with the shots we use.
Although Top Boy does not necessarily use the shot below to convey being lost
amongst the crowd in the club, I believe that with an alternative colour tone and a
stressed Billy, this shot could be something we use as he exits the toilets and looks
for Jimmy at the bar talking to Jase. With a reddish colour instead of blue this could
again signify a threat and cause concern not only for Billy, but also for our audience.
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To add depth to our scene and control where the audience looks both the director
and I agreed to engage the film with a shallow depth of field. Because of this I have
decided to film ROADMAN primarily with a 24mm lens. The 2.8 f/stop allows us to
generate more light in the scene where there is a lack of it and have an even better
shallow depth of field. We also have the choice of using a 50mm with a 1.8 f/stop
however because of the DSLRs crop factor since it is not full frame, the image will
be cropped / squeezed, meaning we will not be able fit as much as we would like into
the frame.
The 24mm lens will also be cropped but not at such an extreme level, allowing us to
have a wider frame. Filming with prime lenses, meaning it cannot be zoomed in or
out, also increases the thought processes and disciplines of film making. While
inbetween shots there is no chance of accidently changing the shot type and there is
no indecision between 18mm - 135mm. Having a fixed lens helps me as a
cinematographer to think about the shots in advance and move myself closer to the
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action or further away depending on the scene. Adding the depth of field as well also
helps separate our characters from the background and foreground as seen in Harry
Brown and amongst the other screen grabs featured in this statement.
Previously mentioned in How The Action & Emotion In The Film Dictates The
Tempo, Motion & Look I talked about some of the filming methods when it comes to
the movement in the scene and in that regard the grips I will use because they are
most suitable. When shooting interior scenes with an exception to the Club we will
be shooting on a tripod for stability, because there is nothing out of the norm the
audience will recieve this visual information and understand our characters sense of
comfortabilty. In contrast to when our characters go outside and to the club we will
use handheld grips such as a shoulder rig and fig rig, these will allow me to add a
little bit of shake to the image to signify someone looking at the character
voyeuristically and potentially creating an entity for the audience to be in the scene,
while at the same time keeping some stability.
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this method in ROADMAN we aim to put our audience in the shoes of the violent
oppressors or the humiliated victim.
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ROADMAN
EQUIPMENT LIST
Camera
Lenses
18 - 135mm (1)
CF Card (2)
Props
50mm (1)
24mm (1)
Shoulder Rig
Tripod (1)
(1)
Fig Rig (1)
Neewer CN-160 / Video LED
Packs of AA
Light for Camera (2)
Reflector (1) Batteries (3)
H4n Zoom Handheld Microphone Boom Pole
(1)
(1)
XLR Cable (1)
Mobile Camera
Geek Glasses (1)
Laptops (2) Phones (3)
Miscellaneous
Scripts (3)
Grips
Light
Audio
Packs of AA
Batteries (1)
Stacks of Money
(2)
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As a Producer and and Cinematographer, it is my job to make sure that all the desired
equipment to make a shoot possible, adhering to the directors and my own vision. Despite
this being our final major project of the year, we are still a relatively small crew in size and
budget therefore we will have to shoot smart and carefully.
I have decided to use a Canon 7D to film our film on because of its HD video
recording quality, its ability to change exposure settings swiftly and easily as well as
being a lightweight choice when we come to film our handheld scenes. It will also
mean we have the chance to interchange between the prime lenses in the list,
allowing for greater exposure in dark conditions, depth of field and no chance to
change the shot size by chance. Things to be aware of on a DSLR is that its
maximum recording time is 30 minutes, it is unlikely we will ever be shooting for that
long in one go but similarly the memory and battery life may struggle on our longer
production days. This is why I have opted to include an extra battery and a charging
station so we can always have a battery on standby.
We will also have a second memory card to store more footage, once a card has
been filled we can then pass it onto one of our production assistants who will digitize
and format the card so that it is ready for another shoot.
We aim to use the tripod to convey our characters being comfortable in their location
by recording a stable shot. Whereas when they are uncomfortable like Billy in the
nightclub or Jimmy out on the street we can use the shoulder rig to track them and
the smaller and more maneuverable fig rig for the action sequences.
As a cinematographer I am also in charge of lighting our scene, using the crew and
the budget we have available to us, we aim to use two powerful and variable (colour
temperature & harshness) LED Panel Lights. These will provide sufficient lighting to
our scene alongside a reflector if we need an extra light source or to diffuse the
current lighting setup.
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Because ROADMAN is a single camera narrative drama there will not be any need
for a second audio recording system and clip mics will not fit and could be easily
spotted. Location sound kits and specifically designed to keep out of shot and are
adaptable to different scenes interior and exterior, perfect for our varied shooting
locations. Recording into a separate handheld device also allows the camera to
move freely around the scene without hinderance.
Ensuring that we as directors, cinematographers and actors bring our Scripts and
Shot Lists to the locations is crucial as this will aid us in bringing the correct props to
the scene. By including something as trivial on the equipment list and forwarding it to
everybody should remind us to check these things before we depart for the location.
Bringing a MacBook and Hard Drive to the location as well will aid with the digitizing
and storing of footage and enabling us to keep reusing our memory cards if they
become full.
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PROMOTIONAL MATERIAL
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SOCIAL MEDIA
In terms of promoting the ROADMAN name, there was only one way for me.
Facebook. Its a great way of connecting to other people and to share the page is a
matter of a few clicks really. After making the like page, I added a cover photo,
profile picture and shared it to my own facebook, with my friends and family doing so
as well. Were up to 40 so far after a matter of days making it, so it is looking
promising.
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From the page, we can update the community about progression, behind the scenes
and other such material related to ROADMAN.
In terms of growth, the Facebook page has grown to fifty likes, with the total reach
being 208 people. This is literally only over a couple of weeks. It really shows the
power of social networking. Closer to the release, Im going to use the advertising
feature to promote the film, therefore reaching more people than before.
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Pre-Production & Production Schedules are useful to plot the progress of our production,
Gantt Charts we found were the most effective way of conveying our progress and future
deadlines. Above are the examples of what we have been doing throughout this term
(September - December 2015) and what is to come next term (January - May 2016).
ROADMAN has now taken shape and is just about ready to go into production
following next terms schedule, starting with our cast & crew meeting for the first time
and getting comfortable with each other. This will be an exciting time for all of us as
we see the progression of Andys script move from paper to the screen, to the edit
and finally film festivals.
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Call Sheets are a vital part of producing because they remind, confirm and ensure
cast and crew know where they are supposed to be and when a couple of days or
more in advance. It confers what time the production starts, who and what is
required and who they can contact if there are any difficulties. It is also helpful for
myself as the Producer and Andy as the Director because if anyone is late or there
are any incidents, we have our cast and crew's details and I know where the nearest
emergency services and refreshments / toilets are etc.
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Contracts are an essential part of the production period, as they tie town any talent
to the project. It gives a clear indication of what we want to get out of the talent,
expenses paid, promotional materal, and any other business that relates to our
project. This way, we protect both our talents best interests and the productions best
inerests, to ensure both parties are happy and agree to what is expected of them.
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Risk assessments help the production define what can be an issue when shooting
our film. It ensures that us as a production have assessed every situation to ensure
nothing can go wrong that we havent already assessed.
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