Project Implementation Plan - WEB.NCF.CAweb.ncf.ca/fr388/Projects/FILM Project Plan.doc · Web viewSome day’s things just don’t seem to go your way. ... ACT 2 “the flat”

Film ProposalGerry [email protected] 730-3072

PROJECT PLAN

PROPOSAL

SHORT FILM PROJECT “CARMA”

Gerry Kanter, Filmaker OTTAWA, ONTARIO

Author Gerry Kanter

MARCH 1 2006

SYNOPSIS:

A narrative story and a series of character monologues are intertwined to

explore the question and the meaning of Karma


Introduction………………………………………… 3

Project at a Glance…………………………………… 4

Story Summary………………………………………… 5

Project Summary……………………………………… 6

1.1 Objective……………………………………..

1.2 Format and Length………………………….. 6

1.3 Equipment……………………………………. 6

1.4 Labour…………………………………………. 6

1.5 Locations and Sets…………………………… 6

1.6 Project Management…………………………. 6

1.7 Financing………………………………………. 7

1.8 Marketing………………………………………. 7

1.9 Distribution…………………………………….. 7

1.10 Reimbursement……………………………… 7

Budget Summary…………………………………………. 8

Schedule and Milestones ….……………. ……………. 9

Cast & Crew Assignments….…………………………… 10

Procedures …………………………………………. 13

Appendix I– cost estimates table 12, 13

Appendix II – Revenue sources 14

Appendix III– General procedures 15

Appendix IV– Checklist 16

Appendix IV– Contingency 17

Appendix IV– Cast selection 18-19

SHORT FILM PROJECT “CARMA”TABLE OF CONTENTS


INTRODUCTION

DIRECTOR’S STATEMENTI have worked hard to get things done right! I have secured locations, done cast selections,

and researched financing; in short I believe I’m on track to creating something that can be broadcasted without licensing issues propping up. I’m doing all the work up front to guarantee I stay within schedule and budget. This process has consumed a lot of my time for the last few months, but I think is worth it because of my belief in the story and the project, but it doesn’t mean I’m incapable of improvising and making a compelling story come out.

I have been involved in various film, and television projects, and I am offsetting the risk of unplanned events and inexperience by using a group of very qualified cast and crew. My DOP has several films made, the same with all the other techs and trades. The cast has several backups just in case, and they are all experienced actors and extras, The budget has been thoroughly researched and the schedule planned carefully. Increasing the chances of this film getting done on schedule and on budget.

PURPOSE OF THE FILMSome day’s things just don’t seem to go your way. That happened to me last winter when I got

a flat tire in my newly purchased car. It was Hell. Temperature was at an all time low of -45, no tow trucks available and a flat spare. To top it all I even broke my car keys trying to pry loose a frozen air nozzle.

The whole thing played out like a tragic comedy, almost as if planned by someone else at my expense. On the other hand it could have just been a case of improbability stretched to its limit. It was during this time that I realized this ordeal would make a great movie.The absurdity of my situation and the questions it raises are what I propose to put on film. Everyone at some point in their lives may have believed that life was conspiring against them, but I hope this film will ask the question of who controls our destiny.

The simple story of a man’s luck (or lack thereof) may well be an old one, but what makes this one special is the fact that it happened to me. Along with the simplicity of the story, my personal opinion is that the art in filmmaking is found in the composition of the shots and the flow of the story. To use a cliché, a picture holds a thousand words; therefore I will use a combination of camera setups, lighting and mood styles, to tell a compelling story in visual terms.

What makes the story structure unique is the way that I plan to combine my narrative with a series of improvised monologues, each of which will argue a point of view related to the meaning of Karma. These talks will be condensed from a series of arguments in order to create the illusion of a intimate conversation. By breaking the story down into this two elements I can raise questions and add an element of surprise to what is a straight forward plot sequence.

The characters in each elment would be independent from each other, but the theme itself is what brings them together. While one side talks about a concept, the other one experiences it first hand. I think this is a duplicate of what an audience would be thinking when they ask themselves questions about some of the points explored. Monologues have been used by Shakespeare to explain internal points of view, which is what I’m hoping to accomplish by integrating them with the narrative.

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PROJECT AT A GLANCE

Project: CARMAFormat: 35 mm filmLength: 10 minutes

Budget: $3820Shooting Schedule: 3 daysProduction Schedule: 6 months

TASKS COMPLETESTATUS HAVE NEED

CAST 95%4 cast for narrative4 cast for monologue8 standby and extras

Draft agreementSchedule scenes & actors

LOCATIONS 90%Release from telephone companyFound two garage locationsRelease from gift storesHome location release

City of Ottawa permitsCar company releases

CREW 70%1 DOP on board5 Production assistants2 Drivers 1 sound technician

grip and light personphotographervideo camera operator

GRANTAPPLICATIONS 50% IFCO application minor grant complete

Research on alternate fundingContact TV network for sponsorshipContact distributor in montreal

BUDGET 50% 31% personal financing ($790) 28% from deferrals – labourcost ($1080)

32% grant or sponsor ($ 1250)20% fundraising ($700)

FUNDRAISING 20% Search venues for eventPrepare info packages

Contact family friends publicCollect items for auctionContact bands/ DJ’s

RELEASESAGREEMENTS 20% Draft for conditions and terms Review with lawyer

Final release forms approved

SPONSOR DONATIONS 10% Approach potential stores for services Find a food sponsor for discounts

Draft agreements

POST PRODUCTION 10% Researched options, resumes

Find editorFind composerSecure music rights

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STORY SUMMARY

ACT 1 “the chase” A man runs with a package chasing after a bus. The package falls and a box of nails falls onto the street into some water. The man comes back and leans over to reach for the box. A car speeds by over the water completely soaking him.

KARMA & DIVINE JUSTICE - MONOLOGUE FOR RELIGIONThe scene takes place inside a kitchen. A chararcter is washing dishes and preparing for dinner. She talks to the camera as she moves around the room. The discussion centers on the idea of reaping what you sow, and divine retribution.

ACT 2 “the flat” the car driver stops to make a phone call. When he returns he finds his car has a flat tire. He checks the trunk but there is no spare he tries to call a tow truck but is unable to get one. His only choice is to head home and grab the spare.

KARMA & RECIPROCITY - ARGUMENT FOR NUTUREThis scene takes placestage changerooom. An actor removes makeup in front of a mirror; he talks to the camera as if tit was an interview. The discussion focuses on tragedy of life and the grand stage we all perform in. the final act he walks onto stage and the curtain closes

ACT 3 “the tow” The driver returns with the spare, but finds his car is gone. Realizing it’s been towed he heads to the impound garage. Instead of paying extra he decides to fix the flat tire himself. In the process he breaks his ignition key while trying to unarm an air hose.

KARMA & RATIONALITY - ARGUMENT FOR SCIENCEIn this scene takes the character plays chess on a park bench. He ponders the next move and talks to the camera. He focuses on how even the most perplexing questions have a simple explanation

ACT 4 “the date” the drives pulls up to a house wher his date for that night awaits. He goes insid e to greet her and waits while she gets ready. Walking into the kitchen he finds a man wearing a bathrobe. It’s the same man he splashed earlier that day.

KARMA & COINCIDENCE - ADVOCATE FOR LOGICIn this case the character is dressed in uniform inside a gloomy corridor. He slowly walks and follows the camera as he talks about probability and game theory

ACT 5 “Down and Out” The driver gets kicked out of the woman’s house. He sheepishly walks out to the curve, sits down and wonders how things could’ve gone so wrong. He notices a penny lying on the road. As he reaches over to grab it a car speeds by soaking him.

KARMA & FATALISM - ADVOCATE FOR DESTINYThe last scene takes place inside in a bar with a character of a waiter. He talks about the futility of understanding destiny, how maybe there is no reason for things. He serves a drink and brings a trait to a table where the other four fates are seated. He joins in a game of cards.

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PROJECT SUMMARY

1.1 OBJECTIVEThe main goal is to plan and produce a short film ready for distribution for the summer of 2006. Total Budget will be $3465 between deferred and direct cost.

1.2 FORMAT & LENGHTThe film will be shot in 16mm colour stock film, with an option to upgrade to 35mm if sufficient funding is secured. Additional backup footage will be shot in HD video to create trailers and behind the scenes material. Total screening length will be 20 minutes with a 3:1 shooting ratio

1.3 EQUIPMENT, SERVICES & SUPPLIESThe bulk of the production costs will be the rental of equipment, and film supplies. The remainder will include technical services such as, lab work, craft services and editing. Supplies like film and sound tape will be quoted and purchased according to budget estimates; equipment and services will be procured as required using the budget estimates as a guideline. A

1.4 LABOURThe production relies on an experienced technical crew and professional actors in order to offset problems along the way. Labour cost for cast crew and production will be deferred until sufficient revenues from distribution deals can be obtained to cover the costs. Agreements, releases and one-time fees will be negotiated and signed with everyone involved in the production of the film

1.5 LOCATIONSMany of the shots will be done on public location for which a good weather and daylight conditions are required. Permits from the city of Ottawa will be obtained as required. Any private locations used in the film will require consent and releases agreements signed. Major locations include mechanic’s shop, gift store, home interior, and interior of car.

1.6 PROJECT MANAGEMENTIn order to accomplish the goals set out, extensive planning is required in the pre-production stage. A thorough budget and estimates will help keep track of cost issues. Difficult shots and scenes have been broken down into detailed storyboards. A set of casting call sheets will be completed to ensure shooting stays within schedule. Backup equipment and material will be on stand by to offset any shortcomings.

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1.7 FINANCINGA financial strategy has been developed in order to break down the process and source of funding for this movie. A major portion of the funding will be covered by a grant or a deal with a distributor. Loans savings and a fundraising event will be held to obtain the remainder amount. The breakdown is as follows:

- Grant - 32% Covers film supplies and equipment- Deferrals - 28% used to cover the actors an crew labour costs - Personal - 20% money coming from my own finances including savings and loans- Fundraising - 20% funds raised through family and friends and investors

1.8 ADVERTISING AND MARKETINGThe objective is to ensure that different promotional avenues are identified and used to spead word about the film. The following are some of the potential sectors to target the promotional campaign and the method needed

- Personal. DVD copies for cast crew and sponsors - General Public. Movie website, posters and flyers.- Investors. Proposal package, budget estimates and royalty agreements- Film Distributors. Copies of film, proposals, presee releases- Film Festivals. Media package, including a letter, pictures and trailer - Media Outlets. Media package behind the scenes footage, and stills photos.

1.9 DISTRIBUTIONThe goal is to reach distribution agreements with a television broadcaster or a short film distributor. By ensuring the project releases and rights acquisitions are secured it would make for a more appealing product ready for commercial distribution

- Local Screening Local exhibition to be done at events that cater to digital video. Organized within a month of film’s competition.

- Film Festivals 1st run targeted mainly to North American film festivals that caters to digital Film. Submission To Be Made For Spring Of 2006 Exhibition.

- Network Television Exclusive 1st and 2nd window distribution rights to be negotiated with arts, comedy, independent film, channel for a term contract of less than 6 months.

-1.10 REIMBURSEMENT STRATEGY*

In order to cover labour costs, the movie will first have to generate revenues from distribution deals. For the time being payments will be deferred. Any money made will be distributed as a one time fee set out on signed agreements as follows:

- Direct Investors - includes any repayment of loans and royalty agreements - Production Staff - official cast and crew used at time of production - Pre-Production - producers, assistants, writer, director.- Post Production Staff - editor, post-sound and composer.

*The following guideline will only be used in the event that this film project generates revenue as a result of distribution and/or exhibition agreements. All amounts paid out will be based on a one time fee determined by the cost sheets used to create the budget

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BUDGET SUMMARY*

ABOVE THE LINEA Story / writer (1) deferred $50 B Director fee (1) deferred $50C Producer fees (2) deferred $100D Development Costs direct $100

$200 + $100 + = $300 TOT $300BELOW THE LINE

E Cast (4) deferred $300F Crew (12) deferred $480G Supplies / Equipment direct $835H Expenses direct $500E Professional services direct $1005

$780 + $2340 = $3120 TOT $3120BOTTOM LINE

G Taxes (14% sum) Direct $200F Contingency** Direct $200

$200 + $200 = $400 TOT $400(Differed = $1500) + (direct = $2385)

= TOTAL EXPENSES $3820

FUNDRAISINGA Labour, cast and crew deferred $780B Writer fee / director / Producer fees deferred $300C Fundraising Event ($10 x 60) pending $500E Equipment and services donations pending $100G Personal investment secured $390

TOT $2190INVESTORS / LOANS

J Stockholders ($50 x 2) pending $100K Line of credit secured $400

TOT $580GRANTS

M IFCO grant pending $1250N TV network distributor pending $1000

* assume only one TOT $1250 (Deferred = $1080) + (Pending = $1950) + (Secured = $790)

= TOTAL REVENUE $3820

* All amounts paid out will be based on a single one time payment determined by the cost sheets used to create this budget. See additional appendix details for information on cost estimates and accounts.

**Contingency calculated using direct cost only at 15% rounded up to nearest figure

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SCHEDULE & MILESTONES

Preliminary Schedule**

Pre Production

1 month + before Feb 23 to march 23 Planning, scheduling and budgeting completeCasting call, reviewed and selected

2 weeks before March 24 to April 6Locations, researched and securedStoryboards and shot list readyFundraising completed

1 weeks before April 7 to April 13

Hiring remainder support crewOrder stock film materialEquipment / supplies list + contingencyMajor crew interviewed and selected

4 days before April 14 to April 18

Rehearsals & FX trialsEquipment list rental preparedFinal production schedule Final Agreements signed.

1 day before April 19Verify contingency plan, changes to schedule Pick up supplies and equipment,Prepare/test equipment and special effects

Shooting*

Day 1 April 20Act 1 “the Chase”Act 2 “the Flat”Act 3 “tow garage”

Day 2 April 21Act 4 “the date” “flashback to garage” Act 5 “down and out”5 Monologues

Day 3 April 22 Contingency day – film extra footage as required

Post Production

1 week after April 23 to April 31

Send film for processing Compile stills and shotsPrepare Music and scoreOrganize raw sound and film materialBegin website and promo design

3 weeks after May 1 to May 15Obtain work print/transfer to DVBegin film editing Begin arrangements for first screening

1 month after May 16 to may 23Complete sound and film editing, Prepare final print and copiesAssemble promo material

2 months after May 24 to June 24 Opening Screening Organize release event party

3 months & after June 24 to July 24

Prepare copies to be sent out to cast and crewAssemble and prepare promo packages as required

*This is a preliminary version of the production schedule. It shows some of the major stages of the project and the sequence that they will be completed in. A more detailed schedule will be used once the technical details and final dates have been set.

** All shown dates are subject to change as required by final production schedule

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2 CAST AND CREW ASSIGNMENTS

Table 2 Production Credits*GROUP TITLE ASSIGNED TO TASK DESCRIPTION

HEAD (4) 1 Producer Gerry Kanter Planning, Scheduling, Budget, Financing.

1 Writer Gerry Kanter Script, scene changes, character dialogue.

1 Director Gerry Kanter Cast call & scheduling, scene setup, lighting camera set up,.

1 Production Assistance Angela ThompsonJason Daley

Crew call & scheduling. Manage crew and production assistants

CAST (6) 1 Lead Jason DaleyCorry Burke (backup)

Protagonist, 25-30yrs, driving, running, stunts, dialogue

1 Support 1 (man) Ron TarrantGillian S (backup) 40-50yrs, running, stunts

1 Support 2 (mech) Matt MillerCorry B (backup) 25-30yrs, dialogue

1 Support 3 (girl) Caitlin DelaneyEugenia Teoflovik (backup) 25-30yrs, dialogue

2 Driver/ Extras Pending Driving, traffic control

CREW (9) 1 Camera Operator Sean Mcveit DOP, Light scene, focus and effects

1 Sound & Boom Pascal Aka Operate recorder and boom

1 Gaffer Pending Set Up lights, stands, clamps, etc.

1 Production Asst. #1 Gillian StreetSammy Osman Assist gaffer, sound & camera operator

1 Production Asst #2 Caitlin EdmondColleen Sutton Script, release forms, continuity

1 Production Asst #3 Eugenia TeoflovikNicholas Burton

Runners, special effects, scene dressing wardrobe, dolly pull

1 Hair & Makeup Pending Prepare cast appearance as required.

1 Photos / Video Kevin Wong Document behind the scenes, record and interview

1 Food Services Pending Purchase, prepare meals, re-stock, clean up

POST (3) 1 Film Editor Pending Add film together, mix sound and sync dialogue

1 Sound Editor Steve Macleod Edit sound effects, add folly sound, mix dialogue and music

1 Composer Steve Macleod Compose and record original music score

*This is a preliminary version of the assignment schedule. It shows some of the major tasks of the project and who is responsible for their completion. A more detailed schedule will be used once the technical details and final dates have been set.

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SUPPORT MATERIALSHORT FILM PROJECT

“CARMA”

APPENDIX I TO VIIPROCEDURES

SECTION ANARRATIVE SCRIPT

SECTION BMONOLOGUES

SECTION CSTORY BOARDS

SECTION DLOCATION SCOUT

SECTION ERESUMES

Gerry Kanter, FilmakerOTTAWA, ONTARIO

Authors: Gerry Kanter

MARCH 1 2006

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APPENDIX I COST ESTIMATES

ABOVE THE LINE COSTSRole / Task Description Qty Unit Rate (fee) TOT

A Director fee One time fee (deferred) 1 Fee $50 $50

B Producer fee One time fee (deferred) 2 Fee $100 $100

C Story / writer One time fee (deferred) 1 Fee $50 $50

D Development advertising copies gas etc 1 Fee $100 $100

TOTAL $300

BELOW THE LINE COSTSRole / Task Description Qty Unit Rate TOT

E CAST Lead Actor One time fee (deferred) 1 Fee $60 $60Support Actors One time fee (deferred) 3 Fee $60 $180Extras One time fee (deferred) 2 Fee $30 $30Stunts / Drivers One time fee (deferred) 2 Fee $30 $30

$300F CREW

DOP / Camera One time fee (deferred) 1 Fee $60 $60Sound & Boom One time fee (deferred) 2 Fee $30 $60Film Editor One time fee (deferred) 1 Fee $30 $30Gaffer One time fee (deferred) 1 Fee $30 $30Production Assistant One time fee (deferred) 5 Fee $30 $150Hair & Makeup One time fee (deferred) 1 Fee $30 $30Sound Editor One time fee (deferred) 1 Fee $30 $30Special Effects One time fee (deferred) 1 Fee $30 $30Photos / Video One time fee (deferred) 1 Fee $30 $30Food Services One time fee (deferred) 1 Fee $30 $30

$480G EQUIPMENT / SUPPLIES

Camera FILM camera (wknd) 3 day $25/wknd $3516 mm film Stock 400 ft rolls x 3 @ $ 200 3 rolls $150 $450Field monitor 1 total (wknd rate) 3 day $15/wknd $25Light Kit Arri light kit 2 day $30/wknd $30Incidentals Extras (slate, bulbs etc) 3 day $10/day $40Track and Dolly 1 total (rent) 2 day $15/day $308mm Movie Stock Super 8 film in 50ft rolls 3 rolls $12 $36Video Film tape 2 tapes 240 min 2 tapes $12 $24Sound Kit DAT, boom, mike, etc 3 day $15/day $45Sound DAT 60 min long tapes 2 tapes $10 $20Stills camera 35mm still Camera film 3 roll $20 $20Digital Editing Suite Rental eve rate (6pm) 1 day $25 $30Recording Studio Rental eve rate (6pm) 1 day $50 $50

$835

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BELOW THE LINE COSTSRole / Task Description Qty Unit Rate TOT

H EXPENSESMeals (Shoot) 15crew @ $5/each = $90day 2 days $90 $180Hair & Makeup Kit with supplies, incidentals 1 Kit $30 $30Transport 1 Runner cars, parking + gas 2 Cars $20 $40Office Supplies Copies, Prints, Pencil Tablets 1 Set $50 $50Props & Effects Lump sum 1 set $200 $200

$500I PROF. SERCIVES

16mm Processing $0.14/foot x 1000 $45016mm Transfer Transfer to HD 3 Hours $10 $400Still film development 3 rolls w/ enlargemnts 3 rolls $5 $158mm Transfer (digital) Transfer to HD ($5) 1 fees $50 $50Videographer 2 roll of tape @$10.00 2 roll $10 $20CD Burn Copies Multiple DVD and/or VHS copies 50 Copies $1.00 $50

$1005

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APPENDIX II REVENUE SOURCES

REVENUE MIX

- Arts Grant - 32% Covers film supplies and equipment- Deferrals - 28% used to cover the actors an crew labour costs - Personal - 20% money coming from my own finances including savings and loans- Fundraising - 20% used to raise funds and awareness of local filmmaking.

COST ACCOUNTSAbove the Line

Cast Crew Supplies & Equipment Expenses Professional

ServicesContingency Taxes

Grants $1250 $625 $625

Investors $100 $100

Deferred $1080 $300 $300 $480

Donations $100 $100

Loans $400 $100 $80 $100 $100

Personal $390 $110 $100 $100 $100

Fundraiser $500 $300 $200

TOTAL $3820 $300 $300 $480 $835 $500 $1005 $200 $200

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APPENDIX III PROCEDURES

Table 1 General Procedures

1.1 MAIN OBJECTIVE

To successfully organize, plan, and implement the production of a short film to be completed and ready for Canadian distribution by the spring of 2006. Direct cost will be kept under $1500 and a running length of no more than 10 minutes

1.2 DELIVERABLES

Production Plan Including schedule, budget, cast sheets, storyboard, locations, releases Working Print Film version for theatrical release. Broadcast Copy. Finished ape meant for distribution to festivals and television broadcast. Distribution Agreement. Complete method of screening film

1.3 TECHINICAL REQUIREMNTS

Movie will be shot in 16mm stock with some segments done with 8mm film. The movie will be upgraded to 35mm if enough money can be raised Shooting ratio for film of 5:1 also filmed on digital video as back up strategy. Still shots and behind the scenes footage to be used for behind the scenes outtakes Production equipment to be rented from IFCO and saw cable as required.

1.4 PRODCUTION CREW

Daily crew minimum of 5 people, maximum of 15. Minimal experience for lighting gripping and production assist. Hire highly experienced DOP, sound person and editor. Schedule crew rotations in 6-8 hour time slots. Able to provide own transportation and parking to and from location.

1.5 SET PROCEDURES

The final length of the short will be under 20 minutes Production from beginning to end will be approximately 6 months 2 shooting days, one for contingency, mostly on weekends Normal production day to run from 6am to 6pm. Two half hour breaks provided for lunch and dinner All labor cost will be deferred by cast and crew for the production of the film.

1.6 CAST AND ACTORS Hire local actors with lots of experience in theatre or film. Obtained signed release form for all cast, crew and stakeholders. Able to commit for entire shooting schedule, and at least one post session.

1.7 PRODUCTION ASSITANCE

Use Production manager to find locations and secure rights and agreements Assistants used as drivers, runner’s extras & stand-ins.

1.8 FOOD SERVICES Food supplier to work independently from technical film crew. Lunch and snacks supplied for each day of shooting. Most meals to be home made to save on costs.

1.9 LOCATIONS AND SET

Locations and sets to be found within City of Ottawa core. For driving scenes find locations with low traffic flow. Level streets. Try to find nearby access to water and washroom facilities. Obtain prior consent from property owners to shoot inside locations.

1.10 MEETINGS AND REHERSALS

Set up one Start up meeting to brief cast and crew on production details. Daily production meeting to brief directing staff before shooting begins. Ensure a dry run rehearsal to be completed for both cast and crew a few days. Produce e-mail letter to report back to principal investors on progress every 4 months.

*The following guideline will only be used to highlight the tasks at hand and be used to draft any documents or agreements regarding roles and responsibilities of individuals involved in production

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APPENDIX IV CHECKLISTS

Table 2 Task ChecklistsPre Production Check

2.1 PROJECT PLAN Prepare overall project document to serve as basis of contract Schedule of milestones, events, Gantt chart and work breakdown Estimate cost and sources of revenue, documents and research

2.2 CASTING & CREW SELECTION

Contact potential actors and smaller crew members, arrange space book schedules Request and Contact potential DOP, sound, FX’s and editing staff Request and Contact videographer to do behind the scenes option Prepare, score sheets, questionnaire and other evaluation documents Set up casting space and volunteers, facilitate audition, pick up supplies Collect, organize, evaluate information, prepare cast sheet, contact selections

2.3 BUDGET AND REVENUE

Finalize cost estimations & accounts, risk analysis and constraints Prepare documentation to approach investors, donors and grant committees Approach and finalize applications, contracts and agreements for funding. Schedule to collect, donations and loans and grants, prepare cash flow

2.4 LOCATIONS AND RELEASES

Prepare documentation letter to approach businesses Determine required permits, list of businesses and locations required Approach and finalize release forms for cast, crew, location owners and incidentals Determine required permits, list of businesses and locations required

Production Check

2.5 SETUP

Day before shoot, pick up equipment, supplies, arrange for parking and storage Check contingency plan, verify location, weather and traffic Hold production meeting, confirm schedule last minute rehearsal and equipment checks.

Ensure all release forms are complete

2.6 SHOOTING

Set up camera sound & lights, special FX, makeup and crew Record scenes, review video and sound, write production notes, record set photos and behind

the scenes footage. Redo scene as required, collect audio background and folly sound backups.

Wrap up & move to next location, collect equipment, catalogue footage, sound, verify production notes, record scene & dialogue changes.

Final check of footage and sound, determine re-shoots and changes. adjust schedule, Record costs for the day, production notes, accounts and receipts.

Post Production Check

2.7 CREATE FINAL COPY

Review and organize footage and sound, incorporate production notes Begin editing rough copy, mix time code and notes Prepare music score, Master mix of video and sound, re-record dialogue, and folly Copies ready for distribution.

2.8 MARKETING AND PUBLICITY

Prepare documentation and press releases Create list of media organizations, festivals and events to showcase film Approach and finalize applications and exhibition arrangements Organize local screening, create and distribute publicity material. Plan promotional strategy for festival screenings. Costs, travel, press releases etc

2.9 DISTRIBUTION

Create final list of interested networks, private distributors, and public organizations Prepare applications, legal documents and organize release forms. Approach and finalize distribution agreements Implement reimbursement of any revenue as set out in strategy.

2.10 WRAP UP & CLOSING

Implement reimbursement strategy as required, balance cost and revenue sheets Compile all notes and information to create project report Include lessons learned, evaluate risk analysis estimates with actual results Bind information and make copies for future reference.

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APPENDIX V CONTINGENCY

Table 3 Production Contingency Plans 3.1 Risk type Prob. Cost Trigger Response Side Effect

3.2 Rainy Day 70% $2001day

Forecast day before = rain

Extra dayInterior shots on standby

$140 risk amountgas, food

3.3 Missing cast or crew 60% $2001day

Night before

Backup list castRe-schedule of shots

$120 risk amountBackup listConfirm day before

3.4 Location not available 50% $2001 day Day before Check days before

Backup locations$100 risk amountpay to find location

3.5 Fundraising insufficient 50%

$12001 week

50% funding missing week before

line of creditapproach new financierscost cutting

$ 600 loan to keep shootingChange in formatNew plan, revisions

3.6 No water for FX 50% $2001 day

No close access

Shooting angles & makeupNew locationContainer & pump

$100 risk amountpay for hose-pump

3.7 Crucial equipment not available 50% $200

1 day2 days before

Standby list of suppliersChange in scheduleChange in script

$100 risk amountpay for replacement

3.8 Permits or releases not secured on time 35% $400

2 day Day beforeCover trademarksNew camera shots listAsk Permission after

$100 risk amountChanges to shots - editingChanges to script

3.9 Major Car malfunction 30% $2001 day

Unable or unsafe to drive

Second car in standbyMoney to fix car

$60 risk amountpay for repairs

3.10 Daylight insufficient or overcast 30% $200

1 dayForecast for rain

Additional lightingPower generator

$60 risk amountpay for equipment

3.11Film stock not availableOr not in budget

30% $2001day

No stock 1 week before

Find new supplierChange stockChange format

$60 risk amountProposal changes

3.12 Heavy Traffic on location 25% $200

1 dayTraffic controlAlternate location

$50 risk amountpay for equipment

3.13 Film camera misses crucial shot 20% $200

1 day Review of prints

Use Second camera2 takes ratio 3:1

$40 risk amountpay for camera and tape

3.14 Injury of personnel 10% $5001 day

Significant injury

First aid kit Release form - insuranceTrained stunt person

$50 risk amountPurchase policyBuy fist aid

3.15 Equipment failure or damage 10%

$10001 day

Significant injury

Release form - insuranceStand by replacement

$100 risk amountPurchase policy

*the risk amount is the result of probability time impact and should be less than the entire amount for contingency funds which is $200. the solutions are suggested strategies for the problem

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APPENDIX VI CAST SELECTION

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Documents

Project Implementation Plan - WEB.NCF.CAweb.ncf.ca/fr388/Projects/FILM Project Plan.doc · Web viewSome day’s things just don’t seem to go your way. ... ACT 2 “the flat”