I worked out a rough idea of dates as to when we could film, then I passed this onto Katie and Alex to get their opinions on it, and for them to tell me if they couldn't do any of the days. I thought it would be best to schedule most of the shoots during the February study week so we would have more chance of the first years helping us as they won't have any lectures or tutorials that week.
January - rehearsals in studios
Friday 18th Jan
February - filming starts
Kent Owl Academy - Wednesday 6th Feb & Thursday 7th Feb
Sheila's house and road in Margate - Monday 18th Feb
The Bell Inn - Tuesday 19th Feb
Extra shots - Wednesday 20th Feb
Tess's house - Thursday 21st Feb
Road in New Ash Green - Friday 22nd Feb
March - reshoots
Wednesday 13th March
Thursday 14th March
Friday 15th March
Katie and Alex were fine with these dates, so I created a schedule including dates, times and locations to send to the cast. This mean that I could work on the shooting schedule while they had the provisional information sent over to them. I left one day in the middle of shooting for extra shots, incase we know by then if we need to reshoot anymore scenes. This means we will hopefully be able to get all the shooting done in one time period rather than waiting until March reshoot.
Production schedule:
After I created this, I realised that we needed to do an evening shoot and I had scheduled to wrap before each sunset. Luckily the sun sets early in February so we don't have to wait around long for the dark evenings. As a result of this, on the first shoot day I added on a couple of hours to film after the time for sunset. This will be the perfect time to film our night shoots.
While I was researching into schedules and how important they are, I came across a new schedule to me - the shooting schedule. This is essentially a longer and more in-depth version of the production schedule. Where the production schedule notes down the locations, times and what scenes are being shot. The shooting schedule does this but also goes into more detail on the scenes, it gives a description rather than just the scene number. It states which characters are needed for what scene. Lastly, the shooting schedule notes down the equipment and props that are needed for each scene. This will be helpful for me because I didn't have a document which includes the equipment involved for the different scenes. Before I made a shooting schedule I had no idea about what equipment Katie had chose to use, but I can refresh myself by looking at this schedule.
Shooting schedule:
Before I made the post-production schedule, I was very unsure on what one was. Most of the schedules I have looked at mainly focus on the pre-production and production, and when it comes to after shooting it simply says 'editing' or 'post-production', as a result of this I had to look harder for a schedule that mainly focused on post-production.
I still couldn't find one based on editing and the stages after that so I made my own. I noted down each part of editing and what happens after - offline edit, online edit, audio, sound effects, colour grading, then the fine cut and distribution. I started by putting all the initial edit stages down in March, we want to start editing as soon as possible after filming. I am doing the offline editing and Katie is doing the online editing as it would be her job to colour grade it anyway. I’ve allowed around a week each for the offline edit, sound effects and colour grading because we have quite a long time to edit. Audio will run alongside the offline and online edit as this will constantly be changing.
I also noted down the scheduled timetable tutorials that we need to attend, and I added in viewings with Alex. As he is the director we need to make sure that Katie and I are bringing his vision to the screen appropriately. To do this, I scheduled regular viewings with him after each stage of the edit.
Once it gets to April, we will be in the fine cut stage of the edit for the first two weeks, until the Easter break. During this time, we have timetabled tutorials for our work. By then, our edit would have been seen by Alex and one of the tutors, and it’ll hopefully be going in the right direction. After the Easter break, we will be onto the May schedule. Here the edit should be nearly finished, we will have an opportunity to review our work so far on the big screen to see how it’s going. This will be beneficial for seeing what the quality is like on a bigger screen. We will also have two days scheduled for grading. During this time, we will be able to get help and advice on the grading of the film, in order to get it to its best before submission. The final edit review is the week following this. Here the edit should be completed, before the project submission on the 10th May. The weeks leading up until the degree screening will consist of the transmission prep. This will be the period of time in which we get the film ready to be transmitted at the screening. Once it has been premiered, it will be ours to put out onto YouTube and Facebook if we wish. It will also be time to distribute it back to the cast members for their show reel work.
Post-production schedule:
Call sheets, one-liners & the DOOD
Standardised production documents are an effective way of communicating essential logistics across projects and departments. If everyone is given the appropriate production document then they all have the same information and they all know what they are doing. The three main documents are the DOOD, one liner and the call sheet. I will be creating a DOOD and a call sheet for VET-MAN. Once you are sufficient in reading each of these documents, it's easy to glance at them and take the relevant information away.
Day out of Days report (DOOD)
The DOOD is a chart. One one axis it has the actors names. Each character is numbered and they are usually listed in order of importance to the story. Their individual numbers correspond to other documents as well. Codes are written in the boxes of a DOOD which indicate different things. The main codes are below:
- SW: 'Start Work' which indicates an actor's first day on set
- W: 'Work' which means that the actor is working that day. Actors get paid for 'Hold' days
- H: 'Hold' which means the actor is not scheduled to work that day but they haven't finished shooting yet, and the production team still need them
- WF: 'Work finish' which indicates an actor's last day on set
- SWF: 'Start-Work-Finish' meaning that an actor has started work, worked, and finished the work all in one day. This can also be described as PWF which means Pickup-Work-Finish.
As we are not paying the actors, I can't use the letter H. Therefore, I will be using the letter I, this means 'Idle' and means the same thing as hold but they don't get paid for it.
I thought it would be helpful to create a DOOD for our film, because I have no document that tells me what day the actors are filming or not. I usually look at the shooting schedule at the date and location and then remember who is filming at the location. By making a DOOD I will be able to glance at the actual dates and see who's filming with us. Also, if anyone asks me about any dates then I can answer them by looking at the DOOD.
My DOOD is below:
 |
| The DOOD for VET-MAN |
As a result of creating this, I can easily see when we're filming and when the actors are needed.
The one-liner
The one-liner is the second important production document. It is essentially an abbreviated shooting schedule. Most productions create a shooting schedule that breaks down each day by scene and includes the equipment, location, talent and other relevant information, but this doesn't aways get widely distributed. The one-liner, however, is a scheduling document that will be distributed to most people involved with the production.
Not everyone gets a more detailed schedule because not everyone needs them, and they use a massive amount of paper. The one-liner includes information that the crew need, whereas the shooting schedule includes everything. The crew doesn't need this information, just the head of the departments do. The crew just need to know when to show up and what needs to be done.
I don't feel that it is necessary to create a one-liner document because we don't have a huge cast or crew, therefore everyone will need the same information. If this was a big production with more people then a one-liner would be most appropriate.
Call sheets
Call sheets are the most detailed, day-to-day document on a professional film shoot. The call sheet exists for each and every day of a film or television shoot and is distributed to the cast and crew at least twelve hours before the day is scheduled to begin. The main feature of the call sheet is the call time: The crew call time, which applies to most of the people who work on the film who are not actors, is featured front and centre on the call sheet. The call sheet includes individual call times for each actor along with a breakdown of the scenes to be shot that day, and additional information about equipment, personnel and props.
Because of its detail the call sheet is often though as the biggest and most important production scheduling document. The call sheet is the master plan for each day of shooting - every person working on the production receives a call sheet, meaning every detail is see and obeyed.
I have created the call sheets for the different locations in VET-MAN. They are show below:
Location 1: Tess's house
Location 3: Road in Margate
Location 4: Sheila's house
Location 5: The Kent Owl Academy
We're filming at The Kent Owl Academy for two days, therefore we needed two call sheets because even though our call times are the same, in some cases they may not be.
Day 1
Day 2
Similarly to the risk assessments, even though we will be filming on site at The Bell Inn, ones inside and one is outside therefore they require two call sheets. This would be helpful if we had one character for just the outside shoot, then on that specific call sheet their call time would be different.
Inside
Outside
References:
- https://www.lightsfilmschool.com/blog/3-production-documents-for-your-film-shoot-aet
- https://valoso.com/ultimate-guide-to-video-marketing/chapter-12.html
- https://www.studiobinder.com/blog/free-gantt-chart-excel-template/
- https://www.studiobinder.com/blog/free-gantt-chart-excel-template/
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