Hitler in Liverpool:
Production Team organisation and planning
With roles assigned, a brilliant group dynamic established
and a fantastic idea it seems logical to have the different roles put forward
their own pieces of planning in order to create a well-rounded piece and a
smooth filming process.
Group
1. Although the
list below seems to split work and dissociate the group don’t worry, working
together as much as we can is important but having some independent tasks is
useful to sharing the workload.
2. I know you know
most of it.
3. GET INVOLVED –
We know the idea is solid (Nice one Josh) grafting together, working together
coming up with ideas together and helping each other in all aspects will help
our piece leaps and bounds but bear in mind if someone knows what they are
doing or is developing a good idea don’t stomp it down unreasonably or without
a reasonable argument – nothing is just ****.
4. This is not
trying to put unnecessary pressure on anyone, if you don’t think we need some
of things listed that’s fine, but the documents I have listed would be useful
to our grades if made at some point whether it falls on the groups shoulders or
not, this is more a template to be discussed at the meeting tomorrow.
5. Liverpool
Timetable – We need to communicate with each other so we effectively use the
time we have.
6. STYLE, STRUCTRE
AND TONE – This needs to be a consensus of the group through mind mapping and
brain storming from influences if we all agree how we want it, the more likely
we can create it.
Josh. W. – Producer
1. Schedule – With
contacts and access to information of potential interviewees/landmarks. Create
a small and concise document with names, contact numbers and likely filming
locations. Contacts could be made establishing whether we have permissions to
film and after discussion with Leanne we could assign filming slots and times.
2. Ideas Man – The
concept as a whole it is important that as a group we achieve as much as we can
what you intended, if at any point he idea is losing its originality or essence
of which was aimed for in the first place, voice it.
3. General Help –
The more quickly we can set up and edit the better.
Nathan – Editor
1. Familiarity –
Editing is the quietest of the roles at this stage, and the loudest in post as
we all know from hours spent near anxiety attack or passing out in the editing
room.
2. Despite this
please vocalize opinions and research as to what we are capable of in editing
and typical conventions of documentary, it will be incredibly useful to
avoiding these panic attacks (can we obtain archive footage/where from/best
sources/stylistically what editing style is going to match our piece)
3. IMPORTING
FOOTAGE – By no means am I saying you are not aware of how to do this, but for
the sake of sakes lets have the method prepared when the footage connects to
the mac, I saw too many people (including myself) who did this incorrectly,
lost ease of use, work flow, quality and sometimes even whole segments of
footage because importing was done incorrectly.
4. Pace and Message
– You and Harry will have a great deal of control over how the subject and the
story comes across, essentially it is on both of you as to what the audience
will believe or feel during the documentary. During meetings get an idea of how
fair we want to present the argument and how accurately we want to represent
our interviewees opinions.
Leanne - A. Director
1. Creative insight
– People are going to listen to you, we need you to stop of us from running
away with our ideas and thinking we have a massive budget whilst pushing us
further when we are almost on a solid idea.
2. Motivate – The
trip is going to be a mix of ideals, some groups I imagine are going to work
unreal amounts, others I imagine are going to end up falling too heavily into a
Liverpool club or bar and end up meeting their contacts 4 hours late the next
day, Leanne kick us constantly, if you think we are slacking or being
unprofessional make us aware, the more effective we are as a team the more
comfortable the filming process and interviewees will feel, the more we get
done the more we can get ourselves inebriated.
3. Keep us together
– Creative contention and tension is a natural thing, we might get stressed
out, exhausted, aggravated, hate each other (for little moments) at these times
remind everyone we’ve ended up in a really good group with a great idea and
everyone is generally lovely.
4. Logistics –
Although this will be clearer after a demo run and information regarding
locations and timing from Josh if you could assess timing it would be very
useful. We will be under constant pressure when we are there, we will all want
lots of information and footage however we need to be in the right places at
the right time: How far are the different locations? Travel time? How long do
we need for an interview to accumulate enough useful footage for a 5 minute
film? How long will it take to set up and move equipment?
Amy - Cinematographer
1. Know the camera
– I’m not saying you don’t but being able to set up quickly and execute shots
well will be really beneficial.
2. Awareness of
visual style – Be solid on the aesthetic you want, if you think something has
merit push it.
3. With group
agreement and discussion it is most important that you know what kind of
material we are following the foot steps of, shots needed etc.
4.
Storyboarding/Shot list – I’m sure this will take place during group
meetings but if they do not appear during meetings they are incredibly helpful
and show good pre-production skills.
Joshua. P. – Sound Recording
1. Big Boom – Again
I’m sure you’re solid but familiarity with the equipment, powering, technique
is going to be key, especially if we decide to use all the microphones
available to us, but that is on you. The interviews need to sound crisp and be
synced perfectly (Clapper board)
2. Sound List –
Atmos is going to be all over the place, city
sounds/bars/university/buildings/streets. Having a diverse range of sounds will
make the documentary have a richer and more involving tone for the audience,
being aware of the sounds we need.
3. Demos with me
and Amy – Us three (with help from the group) need to be able to set up as
efficiently and effectively as possible, with as little snags as possible.
Harry – Sound Editing
1. In communication
with Nathan, structural awareness and exploring new techniques will be good,
overlaying sound on different footage (interviews over location shots or
archive footage etc)
2. Pace and Message
– You and Josh will have a great deal of control over how people and the story
comes across, essentially it is on both of you as to what the audience will
believe or feel during the documentary, during meetings get an idea of how fair
we want to present the argument and how accurately we want to represent our
interviewees opinions.
3. Soundtrack ideas
– Consider the tone of our piece and where it is going in terms of mood and
Tom Noonan – Director
1. Attempt to keep
the group as creatively in tune as possible, listen to everyone’s ideas and try
to establish what the desired dynamic is.
2. Organization –
Organise the group into fair working positions where we can all come together
to create work we are happy with. Essential to listen to everyone and establish
we are working fairly and no one feels the group is not working effectively.
3. Tell the
director if he's being unreasonable, taking hold of the project too much – some
directors seem to think that all control is with them purely because of the
name, I disagree with this entirely and although think they are vital to the
team it is those around them that make a piece of work what it is, the
directors should stylistically influence the piece.
4. Communication –
keep in contact with everyone and organise various work, photos and timing so
things run smoothly and everyone has information to put on their blog and
examples of the work they are doing.
5. Equipment Check
list and Organisation
6. Help anywhere I
can
7. Creatively
travel the documentary.
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