Along with each risk assessment, I have created diagrams which highlight how we will control the hazards in a visual way. I have only made diagrams for the outside shoots because these hold the higher amount of risks. I felt the need to outline where people will be in according to the road in each outside location, and where the runner watching the traffic will be placed. I will also highlight where each crew and cast member will be standing and I will ensure they stay in their place and are not standing in the road throughout the shoot.
Monday 18th February - Sheila's house (Margate)
Written risk assessment:
Visual risk assessment:
We are filming this scene on the drive of a house. The drive is big enough to fit two cars on so we have plenty of room once these cars are moved. However, we will want to get a wide shot of the house for the establishing shot. As a result of this, the camera will need to be positioned on the opposite side of the road. We will be on the path for this, and once the shot is complete, Katie will walk across the road and will be on the path on the same side as the house. Therefore, we will not be filming in the road for this scene, just on the pavements either side.
When the DoP is getting the establishing shot from the other side of the road, myself and the runner will be watching the road. It is a quiet road, however, it can get busy during the day. As a result of this, I feel that two people should watch the traffic during the establishing shot. The runner will stand by Katie on the opposite side of the road, as shown in the diagram below, and I will stand on the other side of the road, on the path. Having me on this side of the road means that I will be on hand for anything that Alex or the cast and crew need. Having the runner stood on the opposite side of the road with Katie means that they will have a full view of the road and will be able to inform Katie of oncoming vehicles which could ruin the shot.
Looking at the shot list for VET-MAN, it seems as if this is the only shot which needs to be filmed from that distance from the house. As a result of this, the other shots will be able to be filmed from the safety of the drive.
When the cast and crew are filming on the drive towards the house, all cast and crew will be able to stand on the drive. The other shots we want to get are close ups of Luke and Sheila and these will be shot from the steps leading up to the front door, and from inside the house looking outside. I will place the runner at the back of the crew, nearest the path, so they can look for any members of the public walking up and down and who possibly look as if they want to ask what we are doing. As a result of this, the risks on this location are very low due to no one needing to stand in the road.
Monday 18th February - St Mary's Avenue (Margate)
Written risk assessment:
Visual risk assessment:
This is the scene when Tim and Luke run over the dog. We will be based outside on a quiet cul de sac road. This road also has an additional road leading off towards a small church car park. I have shown and explained the surroundings of the road to Alex and he wants to film on the right side of the road next to the grass, as shown in the diagram below. Due to the side in which the slogan is on, they will be driving on the left side of the road and will be pulling over to the left side of the road.
Tim will be on the road side when getting out of the van. I will inform him to check his mirrors, while staying in character, as he would usually when getting out of a vehicle. I imagine this will be simple to follow due to the fact he drives a car regularly, therefore, he will be used to checking mirrors when being in control of his car. St Mary's Avenue is a quiet road and as we are filming in the middle of the day on a Monday, the majority of residents down the road should be at work. As I live around the corner from this road, each time I pass it I have checked the amount of cars that are down there. The amount is significantly less during the day than it is in the evening, therefore, I can be sure that there will be a small amount of active cars entering and leaving the road during our shoot day.
As well as asking Tim to check his mirrors, I will also inform our runner to look out for traffic entering and leaving the road. When they see a car coming towards us, they will shout for the director and cast to stop filming until the car has passed. As shown in the diagram below, our runner (R) is positioned on the opposite side of the road. I feel that this is the best position for them to be in, so they are in view of the whole road and are close enough to be able to talk over the road to the rest of the cast and crew. The direction in which I will ask them to look is highlighted with the two dotted lines. If I am not needed during the scene which is being shot as the time, I may stand with the runner, increasing the safety of our cast and crew. I have positioned the runner in that spot in the diagram below because they will have full view of the road which the van is on, but also the side road leading to the church. Ideally, any car that tries to enter the road either from the main road or from the side road will be seen by the runner and the rest of the crew and cast will be made aware. Like I said before, if I am unneeded at the time, I will stand with the runner to give an extra pair of eyes.
Every member of crew will also be wearing high-vis jackets. The cast and crew members who aren't in the shot at the time will be stood on the side of the road, away from filming and from the road.
Similarly to before, I may stand with the runner and help watch for traffic if I am not needed elsewhere. As our DoP and sound assistant will be bent down in front of the van looking up to the cast in action, it may be safer for two pairs of eyes watching the road and the side road leading to the church. We need the camera in the position that the dog would be in for Tim and Luke to look down on. If the runner stays positioned as the diagram shows above, I can stand behind the DoP and sound assistant on the path on the opposite side of the road. They will be concentrating with their backs to the road so the runner and I will have the whole road in view and we can act as their eyes. I will call over when a car enters the cul de sac, so they know when to stop filming and move to the grass.
As we will be filming at the side of the road, there will be a big enough area next to the van where other cars will be able to drive around.
Sheila will be approaching the van in the scene from the road which leads to the church car park. This is another quiet road, therefore, we shouldn't have a lot of trouble with cars driving by. However, walking across a road still poses a safety risk, therefore, it must be controlled. Due to not being in the main road anymore, I will tell the runner to stand by the side road, rather than across the road like they were in the other diagrams. They will stand as pictured below, on the edge of the grass, therefore, they will able to see both ends of the main road, and the side road. When Sheila crosses the road, the runner will be watching out for cars and will inform Sheila not to cross the road if a car approaches. Even if a car enters the cul de sac or a stationary car starts moving, we will stop filming until it is parked or has left the road.
The rest of the scene will be shot on the grass side, therefore, we will not be in the way of the road. The runner and I will only be on the opposite side of the road when needed, when the rest of the scene is being shot on the side of the road, we will be on hand with any problems that may arise.
Scene 6 consists of Luke running back from Sheila's house and similarly to Sheila, his path is across the side road leading to the car park. I will have the runner stand in a similar place to watch for traffic along the main road and side road. The runner will be positioned as below, because if they stay where they are, they will be seen on camera.
Tuesday 19th February - The Bell Inn - Inside (Bearsted)
As we will be situated inside the pub, I didn't make a visual risk assessment for this scene.
Tuesday 19th February - The Bell Inn - Outside (Bearsted)
Written risk assessment:
Visual risk assessment:
The runner will be stood at the back of the van separating the filming area to the rest of the car park, as they will be watching for other cars. All crew members will be wearing high-vis jackets to be seen clearly by cars entering and exiting the car park.
Thursday 21st February - Tess's house (Longfield)
As we are situated inside a house, I didn't make a visual assessment for this scene.
Written risk assessment:
Friday 22nd February - House and Drive (Longfield)
Written risk assessment:
Visual risk assessment:
Similarly to the house in Margate, we will have the safety of a drive protecting the cast and crew, rather than standing on the road. There will be one take of the whole scene on a wide shot, and after that the remaining shots will be captured on the drive. As it can be seen below, the crew will only need to be stood on the opposite side of the road for the wide shot. I will position the runner opposite Tim so he will be close enough to inform him about any cars approaching. I understand that Tim will be concentrating on performing which is why I will position the runner as shown.
As I said previously, the remaining shots will be captured on the drive as shown below. I have previously visited the house and drive and there is a grass patch around the drive so we will be able to stand a with a bit of space rather than all squeezing on the drive. As everyone will be focusing on their crew and cast roles, I will position the runner just off centre to watch the area. They can help any members of public who have any questions instead of interrupting us.
I am confident that I will be able to carry these risk assessments and control methods into the shoot week, with the aim of keeping all cast, crew, public and contributors safe throughout production.
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