I was asked to find out three job roles that I would be interested in applying for, and so, after looking around online, I came across three that managed to catch my interest.
One of these jobs were a promotion film director for a new marketing agency.
The company already has an actor in mind to star for it, and know what they want this actor to say and do within the short video promotion. However, they are unsure with what locations to use, but know that they want three or four of these locations, and they want it to be set in and around central London, so they want a director to assist with this. They also want the director to portray the right tone and narrative for the short film, but they already have a producer, camera operator and sound operator hired and ready to work.
They need it to be filmed soon, so they are looking for the director to work quickly to help them to complete the pre-production work for the film, and so they can get it shot and edited ASAP. It is a paid job, but not permanent - just for the length of time needed to complete the production.
This job interests me as I would love to be a director at some point in my career, and starting off with smaller films would be a good way to reach that goal. I'd need to have good communication skills if I were to do this job, as I will need to communicate with both the actor, and other members of the crew to make sure we are all trying to reach the same final outcome. I would also need to have confidence, an understanding of the time restrictions to film, experience with location scouting, risk assessments and location recces. Previous experience would probably be best with a job like this, but because I don't have that, and it's up in London which I currently would struggle to get to, this job would be hard for me to apply for.
The application process, however, will involve having to submit a CV and a resumé, so it's just the same as applying for normal, everyday jobs. I would also add in a film reel of work I have previously created, or a video CV too, but that's the general idea for an application for this job.
The second job I came across was a online and offline editor for small, non-profit organisation.
It's a low paid job, with only a compete pay of £600 in total. The job will involve working closely with a director for 5/6 working days over two weeks. To do this job, I would need to be able to edit the grade and complete both an online and offline final edit of the project, but it's something I would be interested in doing because I have had experience with editing for a while now, and I wouldn't mind doing it as a job - even if it is low paid.
I won't be able to do this, however, because I would not be able to get time off my permanent job, and this one will only be for two weeks - afterwards, they will no longer need me to work for them. I will also need to get up to London, which I can't afford to do, and would be difficult to do every day so I would need to stay in the city for a little while.
The application process involves emailing the company for more information, and presumably giving them examples of previous work with a CV/resumé. There is not much information about this, however, and it simply states to email them at their address.
The third, and final job that I came across that I would be interested in applying for is a camera operator/editor for a small media company.
At the moment, it's a part time basis, but it could easily become a full time job after a short while, and it is also fully paid - with £65 being paid per day. They produce corporate documentaries, short films and podcasts, but are looking to branch out and extend their range of productions which are broadcast on Sky's digital network.
To do this job, I'd need to be able to both operate camera and edit videos, which I am able to do. I wouldn't be able to apply for this job because I would have to be completely committed to the company, and continue to work for them as they grow and develop. This would be difficult for me to work around college and my current job, and I feel as though I would need previous experience with working in a real company before rather than having just done college projects.
To apply for this job, I would need to submit a CV and a resumé, just like the first job I found, but once again I would include previous work that I have helped to create.
Also, my LinkedIn profile can be found here.
Thursday, 29 May 2014
Short Drama Diary Entry (3).
Almost everything for my pre-production work is now done. Actors have their scripts, the location is hired out, the equipment is booked. All that's left to do is to rehearse to make sure that the actors know what they're doing on the day so that hopefully we'll be able to get it done quickly but professionally.
I've budgeted my film, sorted out contracts for the locations and actors, worked out what shots will be filmed, in what order and where so that when we get there on the day we'll know exactly what we are doing. A shooting schedule has been done, I've planned for my soundtrack, and I also have props sorted out for filming on the day.
My actors work well with me and each other, which I think is extremely important, and we're all very excited to film on Saturday the 31st. I've arranged transport for them all, and paid the cost for them to actually get into the bunker, so they don't have to worry about any of that. They just need to bring food/drink or money to buy some on the day, which I've already told them about.
Character Profiles for Hope Dies Last.
I wrote up some detailed character descriptions for my actors and extras to learn more about their characters, to give them more of an accurate, and lifelike portrayal of their characters. This was also something that they requested me to do, and although they're not completely finished, it has given the characters enough information to be able to act as I expect the characters to.
Hope Dies Last Script, Draft 2.
I re-wrote some of the scenes and dialogue in my short film to make it flow and sound better, and so that my actors can finally get down and learn the lines. I know I need to add in more scene detail and character descriptions, but this is done so that my actors can learn what to say and do without worry that I will change much.
https://drive.google.com/file/d/0B9hMqQxEohUBNlRtTGRhMWlISG8/edit?usp=sharing
https://drive.google.com/file/d/0B9hMqQxEohUBNlRtTGRhMWlISG8/edit?usp=sharing
Wednesday, 28 May 2014
Commissioning Process.
An agent is a person who helps a writer to find job opportunities, acting on the writer's behalf to generate interest in them, receiving between 10% and 20% of the profits generated by the script in return. If works comes to someone through an agent, it's taken more seriously than just by sending a script. It also gives the writer more time to work on the things they write, whilst the agent is out trying to generate publicity and work for them. It's easy to find agents for screenplays through books, or sites like this:
http://www.jengovey.co.uk/screenwriters_friend/screenwriter_agents_uk.html
A commissioning editor at somewhere like the BBC would decide what gets made into a television show, film, or whatever it is. It's an important step in the process if say, you wanted to turn a script into an ongoing drama on the BBC. Rather than waiting for a commissioning editor to find a script and contact you, a writer could submit a script through an e-commissioning process and it enables content makers to submit their proposals for an commissioning editor to pick up the work and run with it. Lucy Richer is a commissioning editor for independent dramas in the BBC, and she is the sort of person I would have to contact if I were interested in making a drama for the BBC.
http://www.bbc.co.uk/commissioning/whos-who/tv/drama-films/drama/lucy-richer.shtml
If the company isn't interested, you could interest another company in, say, Warner Brothers, in turning it into a film instead. If something gets greenlit, it's a go production and it will happen for sure. To get this to happen, it needs to get seen by a producer or president of creative development. Paul Broucek is the president of Warner Brothers, for example, and he decides what sort of films the company will be making in the upcoming year, and would overall control the producer that considers turning the screenplay into a film.
http://www.warnerbros.com/studio/executives/divisional-executives/paul-broucek.html
If then this doesn't get interest, a smaller, independent film company can possibly take an interest and decide to make the production. However, the script writer can either be involved greatly with the production, or barely acknowledged at all. It varies depending on the contract, company, and script writer's status. Some screenwriters report that they were completely shut out from the production after their script was bought by the company, whereas some writers - such as George Lucas - was involved intensely with every step of the production.
http://johnaugust.com/2003/writerdirector-disagreements
Errors and omissions insurance (commonly shortened to E & O Insurance) is to protect the company if you have accidentally used someone else's copyright without being aware, or using a name based off someone you know, or character names that they have no rights over, or anything that could get the company into legal trouble for example, it would protect them, and cover them from getting a hefty fine. There's such things as fair use in the United States, but it varies in England, so errors and omissions insurance can be quite important to smaller, independent film companies. These can be found and purchased commonly online through sites such as these:
http://www.hiscox.com/small-business-insurance/errors-and-omissions-insurance/e-and-o-coverage/
http://www.jengovey.co.uk/screenwriters_friend/screenwriter_agents_uk.html
A commissioning editor at somewhere like the BBC would decide what gets made into a television show, film, or whatever it is. It's an important step in the process if say, you wanted to turn a script into an ongoing drama on the BBC. Rather than waiting for a commissioning editor to find a script and contact you, a writer could submit a script through an e-commissioning process and it enables content makers to submit their proposals for an commissioning editor to pick up the work and run with it. Lucy Richer is a commissioning editor for independent dramas in the BBC, and she is the sort of person I would have to contact if I were interested in making a drama for the BBC.
http://www.bbc.co.uk/commissioning/whos-who/tv/drama-films/drama/lucy-richer.shtml
If the company isn't interested, you could interest another company in, say, Warner Brothers, in turning it into a film instead. If something gets greenlit, it's a go production and it will happen for sure. To get this to happen, it needs to get seen by a producer or president of creative development. Paul Broucek is the president of Warner Brothers, for example, and he decides what sort of films the company will be making in the upcoming year, and would overall control the producer that considers turning the screenplay into a film.
http://www.warnerbros.com/studio/executives/divisional-executives/paul-broucek.html
If then this doesn't get interest, a smaller, independent film company can possibly take an interest and decide to make the production. However, the script writer can either be involved greatly with the production, or barely acknowledged at all. It varies depending on the contract, company, and script writer's status. Some screenwriters report that they were completely shut out from the production after their script was bought by the company, whereas some writers - such as George Lucas - was involved intensely with every step of the production.
http://johnaugust.com/2003/writerdirector-disagreements
Errors and omissions insurance (commonly shortened to E & O Insurance) is to protect the company if you have accidentally used someone else's copyright without being aware, or using a name based off someone you know, or character names that they have no rights over, or anything that could get the company into legal trouble for example, it would protect them, and cover them from getting a hefty fine. There's such things as fair use in the United States, but it varies in England, so errors and omissions insurance can be quite important to smaller, independent film companies. These can be found and purchased commonly online through sites such as these:
http://www.hiscox.com/small-business-insurance/errors-and-omissions-insurance/e-and-o-coverage/
Thursday, 22 May 2014
Hope Dies Last Script - Draft One.
Here's the link to the first draft of my script for my short film, 'Hope Dies Last'.
https://docs.google.com/file/d/0B9hMqQxEohUBaEptLWJ2Tml4d28
I've already decided that there are a few things that I'm going to change, and I'm going to get to editing the script and making a second draft after taking a short break.
https://docs.google.com/file/d/0B9hMqQxEohUBaEptLWJ2Tml4d28
I've already decided that there are a few things that I'm going to change, and I'm going to get to editing the script and making a second draft after taking a short break.
Wednesday, 21 May 2014
Editing A Soundtrack.
We need to evidence that we know how to work and record sound on a live location, foley, special sound effects, music, and mixing it all together. If the SCD doesn't have a music piece, it doesn't matter, but we have to make sure that we can prove that we can do this. For example, trying it and then deciding that it doesn't fit or work, we show that we considered it and decided not to.
We have to use soundtrack to edit in terms of effects. We should spot the locked picture to see what we need to change in terms of audio, and it needs to compliment the video production. We should also be creative, and works in terms of our narrative.
We then need to make sure that the sound and picture is synced, and sounds appropriate for the picture on screen.
Sound processing/enhancement/dubbing requires us to use Soundtrack Pro or some other form of audio editing software. A lot of the features we don't really need to worry about, but we can use it to add different effects to our audio. It works a lot like Final Cut in terms of layout, however. We can add multiple audio track to the clip, through sounds that we've recorded, or clips in the audio library. Try and edit/customise files to be creative and get higher grades. Layer effects up and use more than one.
We have to use soundtrack to edit in terms of effects. We should spot the locked picture to see what we need to change in terms of audio, and it needs to compliment the video production. We should also be creative, and works in terms of our narrative.
We then need to make sure that the sound and picture is synced, and sounds appropriate for the picture on screen.
Sound processing/enhancement/dubbing requires us to use Soundtrack Pro or some other form of audio editing software. A lot of the features we don't really need to worry about, but we can use it to add different effects to our audio. It works a lot like Final Cut in terms of layout, however. We can add multiple audio track to the clip, through sounds that we've recorded, or clips in the audio library. Try and edit/customise files to be creative and get higher grades. Layer effects up and use more than one.
Recording Audio For Moving Image.
We must know the best processes, the best equipment and the best methods to recording sound.
We've got to consider sound in the location reports, as well as thinking about the microphones. We must know how to connect audio, and monitoring and controlling levels of different types of sound.
1. Assess the location.
2. Choose the right microphone.
3. Position the microphone.
4. Connect and check (using headphones AND levels).
5. If recording separately, use a clapperboard.
6. Do you need a second sound source?
The best thing to do is to talk about it to a camera when filming on set, and explaining what's going on with the sound and also the problems that there may be. Explain why these things are done and what problems there may be if it's not done. This gives evidence of the above list. Also give further knowledge of studio sound/microphones, for a higher grade.
We've got to consider sound in the location reports, as well as thinking about the microphones. We must know how to connect audio, and monitoring and controlling levels of different types of sound.
1. Assess the location.
2. Choose the right microphone.
3. Position the microphone.
4. Connect and check (using headphones AND levels).
5. If recording separately, use a clapperboard.
6. Do you need a second sound source?
The best thing to do is to talk about it to a camera when filming on set, and explaining what's going on with the sound and also the problems that there may be. Explain why these things are done and what problems there may be if it's not done. This gives evidence of the above list. Also give further knowledge of studio sound/microphones, for a higher grade.
Tuesday, 20 May 2014
Actors for "Hope Dies Last."
Today, I finally managed to get in contact with the acting department at the college, and was allowed to speak to their year one drama students about the possibility of acting in my short film. I was rather concerned that no one would be interested in helping me out at all, but the majority of the class seemed to be interested in the idea, and wanted to be a part of it.
After explaining what sort of people I would need, and what the basic idea for the plot was, a surprising amount of people seemed to want to be a part, which made me struggle to choose a couple of the roles that I needed to be filled. Once I did though, I spoke to them separately away from the rest of the class and confirmed that they would be available for filming on Saturday the 31st of May, which they all said they would be. I also went into a little bit more detail about the characters I would like them to play, and other small details. They all seemed quite happy and keen on the idea, and so I took all of their contact details and emailed them with links to my blog, and also arranged to meet them tomorrow during my last lessons to go into more detail about the film.
I'm extremely pleased with my decision on these actors, and think that they'll be perfect for the roles in my film. We also took a photograph for me to put on my blog to be able to explain and show more about my actors.
From left to right, my actors are:
Nathan Barry, playing Luke Jonathan Haines.
Stephanie Evans, playing Atlanta Haines.
Becky Canham, playing Sara Haines.
Jack Turner, playing Jason Haines.
Luke Taylor, playing Christian Penfold.
They all seem like they are going to be extremely fun and good to work with, so I greatly look forwards to rehearsals and the final shoot with them!
After explaining what sort of people I would need, and what the basic idea for the plot was, a surprising amount of people seemed to want to be a part, which made me struggle to choose a couple of the roles that I needed to be filled. Once I did though, I spoke to them separately away from the rest of the class and confirmed that they would be available for filming on Saturday the 31st of May, which they all said they would be. I also went into a little bit more detail about the characters I would like them to play, and other small details. They all seemed quite happy and keen on the idea, and so I took all of their contact details and emailed them with links to my blog, and also arranged to meet them tomorrow during my last lessons to go into more detail about the film.
I'm extremely pleased with my decision on these actors, and think that they'll be perfect for the roles in my film. We also took a photograph for me to put on my blog to be able to explain and show more about my actors.
Nathan Barry, playing Luke Jonathan Haines.
Stephanie Evans, playing Atlanta Haines.
Becky Canham, playing Sara Haines.
Jack Turner, playing Jason Haines.
Luke Taylor, playing Christian Penfold.
They all seem like they are going to be extremely fun and good to work with, so I greatly look forwards to rehearsals and the final shoot with them!
Friday, 16 May 2014
"Hope Dies Last" Treatment.
South Essex College,
Luker Road,
Southend-On-Sea,
SS1 1ND.
"Hope Dies Last."
Dear Sir/Madam,
I thank you for taking an interest in the short drama, "Hope Dies Last." I am writing to inform you of my treatment for the production, which includes a more detailed description of the film, the budget, the contingency plans and also the list of out planned cast and crew.
"On the verge of giving up and surrendering within a war, a rebel has lead the battle against an oppressive government for years with the help of his younger brother. But when his daughter is kidnapped, he must learn that the easiest option isn't always the right one before his daughter is completely lost."
The film will involve four main characters - the two brothers who are the rebel leaders, the elder brother's daughter and the head of the government who has kidnapped the daughter. I will be using a number of actors - most likely four or five - who will double up as both other rebels, and solders for the government, but will not be recognisable as they play the bad guys. It will also be filmed in a number of different looking locations - ranging from a high-tech government communications room to a derelict building, but all of these will actually be on one site, so no huge travel between locations would be needed.
In the beginning of the film, after the opening sequence, the main protagonist and his brother will introduce the audience to the world that the film is set. More information about the clips we saw during the opening sequence will be revealed here, as well as a few more, less-important characters. The audience will learn about the main protagonist's daughter being kidnapped - which we saw during the opening - and their plans to get her back. They'll also learn that this is not an easy task, either. The brothers are injured, and getting the girl back will involve them infiltrating the oppressive government's headquarters, and with them being high priority targets as they were the first to rebel, and lead the others to join them, all eyes will be on them; both from the government and the other exiles/rebel forces. A number of other exiles/rebels will remind them of this, but the main protagonist will not seem to listen, completely focused on getting his daughter out of there before anything happens to her. He lost his lover, and he's not planning on losing his daughter too.
The main protagonists reach the government headquarters after some debate to how they would go about rescuing the daughter, and are already approached by a number of masked government forces. They manage to fight these forces, and either kill or knock them unconscious and take their uniforms/masks, allowing them access to the headquarters without being under too much suspicion. The rest of the exiles/rebels wait in hiding outside the building, waiting in case anything goes wrong and the two brothers need help.
Whilst infiltrating the headquarters, the two brothers make a mistake by revealing their true identities to the girl when they find her. This is caught on cameras as they free her, and causes the government to raise the alarm. This sends forces out looking for them, and alerts the other exiles/rebels outside that things aren't quite going exactly to plan, with reinforcements being called in to help try and catch/kill the three of them before they have a chance to do anything. With the alarm raised, the brothers are forced to try and escape the building before they are overwhelmed by forces, which is a strong possibility at that point in time. With them being so far into the building, and the others having been waiting outside, they are currently on their own, and have to make sure to protect the girl too. This clearly turns out to be a difficult task, and the main protagonist tells the girl that if anything happens to him or his brother, she needs to keep running and not look back to meet up with the others who have promised to look after her for them.
The three almost make it to the exit of the headquarters where the others are holding the reinforcements outside at bay for them. The exit is in sight and it looks like they are going to make it, but a large group of reinforcements appear with the main villain from before, blocking their path. They manage to take cover, but with them aiming more for the main protagonist, he tells the girl to go with his brother and for them to split up, him drawing the villain's attention away from the girl, giving them more of a chance to escape. The brother completely disagrees with this, however, thinking that it is a risky decision - like he had promised he would not let him make - but the protagonist does not listen and heads the other way before his brother had a chance to stop him.
With the main protagonist drawing the villain's attention away from the other two, he finds himself cornered by the same villain from earlier who had sent him the video transmission. He manages to hold them off for a few moments, but is soon shot down by him, finding that he was completely at their mercy at that point in time. His daughter catches sight of this and cries for him, alerting his brother to what was happening. Seeming torn by whether to help his brother like he had promised the protagonist's lover, or help get the girl to safety. He then gets the girl out of the building, shutting the door behind her and forces it to stay shut, turning back to help his brother. Although she is not completely out of danger, she is no longer inside the building where the fight is going on, and still has a chance to run before the government forces catch up to her again.
The brother shoots at the villain, but finds himself too late. Although he hits his target, the shot making the villain stumble, he was barely seconds away from saving his brother's life. Now overtaken by rage and guilt that he could not fulfil his promise to the protagonist's lover and keep him safe by not letting him take reckless decisions, he targets the villain, almost managing to kill him before he is shot down to by another one of the government forces, leaving the girl alone outside, watching the scene unfold within the building. The injured villain turns to the girl, demanding that the others get after her as she seems to be frozen in grief and fear. A van soon pulls up just outside the building, however, containing some of the exiles/rebels who pull her into the van to take her to safety before she was killed too.
The entire film will be shot in a way that makes it look very dark and gloomy, adding to the feeling of desperation and how the world in that time was run by the oppressive government.
Budget:
I should hopefully be able to complete the film with £159.14.
Breaking this down, it will cost me £149 in total to hire out the location for three hours, plus pay for the entrance of all the cast and crew members. This is the main bulk of the budget, and because this is so much, I've tried to keep other costs as low as possible.
As for props and costumes, it should hopefully only cost me £14.09 in total. I'm planning to borrow costumes and some props from the bunker itself, and so the only things I will need to buy are items that they do not have there - such as masks and a pair of handcuffs. These I have found cheaply on ebay, however.
Because I hope to keep the filming within three hours, I will not be providing food, drink and accommodation for the cast and crew members. I will advise them to bring a bottle of water and a snack each, and inform them that there is a cafe on site, but I will not be able to pay for their food and drink because of the amount I have already spent on hiring out the location, and how short I'm planning to spent filming there.
When it comes to transport, I am able to get help with friends who have a large car that's big enough to accommodate eight people. That, plus my car, will mean we can take thirteen people to the location and back as well as all the equipment we will need to bring. My friend is willing to provide this transport for free, so we will not need to pay out costs for this.
I own a Canon 700D camera at home, so the only equipment I will really need to hire will be microphones, a dolly and tracks, a tripod and lights. All this I can hire for free from the college, so it will not add to my budget at all.
Talent:
Luke Jonathan Haines - Nathan Barry.
Jason Haines - Jack Turner.
Atlanta Haines - Stephanie Evans.
Sara Haines - Becky Canham.
Christian Penfold - Luke Taylor.
Extras:
Kieran Hole.
Isabella Atkins.
Lauren O'Hara.
Crew Members:
Director/Producer - Nicola Sinclair.
Camera Operator - Nicola Sinclair.
Lighting/Sound - Tony Winkworth and Nicola Sinclair.
Transport - Tony Winkworth and Jacqueline Sinclair.
Location Recce - Jacqueline Sinclair.
Runner - Tony Winkworth.
Behind-The-Scenes Filming: Jacqueline Sinclair.
Editing - Nicola Sinclair.
Contingency:
I am going to bring with me an extra £80 on the day in case we exceed the three hours filming and need to pay for another three hours on site. The money will also cover food and drink incase someone is unable to buy their own, and desperately needs something.
I am also leaving Sunday the 1st, and Monday the 2nd open incase I need to re-do anything with the main actors, such as sound recordings, or re-recordings of a certain scene. However, I will film each scene at least two or three times on the day, so that hopefully I won't have any issues with the outcome of the shots when I go to edit the film.
I will also make sure that I bring spare equipment on the day - such as batteries, SD cards and chargers in case something happens with the equipment that I bring with me, and this way it won't interrupt filming.
I also plan to film later in the day when the bunker is closing to the public, so that this way we will have less interruptions from people walking by - but I will make sure to have crew members on standby just incase I need something done quickly - like asking people to stay back whilst I shoot a scene.
I will also confirm with more actors/extras about being available on the days in case my main talent is unable to make it for whatever reason, such as sickness or injury.
Yours sincerely,
Nicola Sinclair.
Budgeting For "Hope Dies Last".
Because now I know more or less what I am going to film and where, this has allowed me to work out my budget for the film.
I am planning to film in Kelvedon Hatch, which has a student rate of £65 for three hours, plus £7 per person. Because of the amount of cast and crew I am expecting to have, this is turning out to be the most expensive part of my project.
I need four main actors, as well as at least four extras, so that is £56 alone. On top of that, I will need to pay for the crew members. I'm planning to obviously pay for me, one or two others to help with moving/setting up, and someone to film behind the scenes for the project. That is another £28, which means that filming at Kelvedon Hatch is going to cost us £149 for three hours. Hopefully, I will be able to get the filming done within that time, but if not, I'll need to bring another £65 in case I need to hire out the location for another three hours on top of that.
When it comes to costumes and props, I'm planning to spend as little as possible. For the majority of the time, the actors and extras will be able to wear what they want within some boundaries when they are playing the parts of the rebels. When they are playing the parts of the bad guys, however, I'm planning to have them wear masks so that they are all indistinguishable from each other. I've found some reasonably cheap masks here on Ebay, which cost £1.75 each, plus £1.99 for postage and packaging. If I plan to get five of these (four, meaning there's one for each of the extras, plus one incase it gets damaged/broken) which will cost me £12.74 in total. That brings the overall budget up to £157.79. For the rest of the bad guy costumes, I plan to have them as cheap as possible, and maybe even hire out the military costumes that are on display in the bunker for hopefully no fee at all. I will have to double check this before the day of filming, however.
I also need a number of props, which includes a pair of handcuffs for the kidnapped daughter. I found a cheap pair of them here on Ebay for £1.35, with free postage and packaging. That brings the overall budget up to £159.14. I will also need some decommissioned guns, or even airsofting guns. I am unsure whether or not I can borrow the old, decommissioned guns from within the bunker, but I am going to speak to them about it when I visit them next, before the filming. If not, I could probably borrow some airsofting guns from friends who I know own them.
I will be providing transport for the actors/extras, and have a friend who has an eight seater car and is willing to help us for free. That, plus my car which seats five should hopefully be able to transport all of the actors, extras, crew and equipment up to the location and back.
I won't be able to provide food and drink for the cast and crew because of the amount of money I have already spent on this project. I am going to speak to them beforehand, however, and advise them to bring their own food and drink. There is a reasonably cheap cafe on site, however, in case they wish to buy their own things. We should hopefully not be there for an extremely long amount of time though, so I'm hoping that people won't get too hungry.
The last thing is hotels. Because I'm not planning on staying at the location overnight - and in fact, hopefully not for longer than three hours - I will not need to spend money out on a hotel for the cast and crew to stay in.
This brings my overall budget to £159.14. I have set up a Kickstarter project for £130.00 which would really help a great deal with the cost of things, but so far there has been no donations. This may change at a later date, however, and would bring the total budget down by far, and if this was the case, I would be able to pay for food and drinks for the cast and crew.
I am planning to film in Kelvedon Hatch, which has a student rate of £65 for three hours, plus £7 per person. Because of the amount of cast and crew I am expecting to have, this is turning out to be the most expensive part of my project.
I need four main actors, as well as at least four extras, so that is £56 alone. On top of that, I will need to pay for the crew members. I'm planning to obviously pay for me, one or two others to help with moving/setting up, and someone to film behind the scenes for the project. That is another £28, which means that filming at Kelvedon Hatch is going to cost us £149 for three hours. Hopefully, I will be able to get the filming done within that time, but if not, I'll need to bring another £65 in case I need to hire out the location for another three hours on top of that.
When it comes to costumes and props, I'm planning to spend as little as possible. For the majority of the time, the actors and extras will be able to wear what they want within some boundaries when they are playing the parts of the rebels. When they are playing the parts of the bad guys, however, I'm planning to have them wear masks so that they are all indistinguishable from each other. I've found some reasonably cheap masks here on Ebay, which cost £1.75 each, plus £1.99 for postage and packaging. If I plan to get five of these (four, meaning there's one for each of the extras, plus one incase it gets damaged/broken) which will cost me £12.74 in total. That brings the overall budget up to £157.79. For the rest of the bad guy costumes, I plan to have them as cheap as possible, and maybe even hire out the military costumes that are on display in the bunker for hopefully no fee at all. I will have to double check this before the day of filming, however.
I also need a number of props, which includes a pair of handcuffs for the kidnapped daughter. I found a cheap pair of them here on Ebay for £1.35, with free postage and packaging. That brings the overall budget up to £159.14. I will also need some decommissioned guns, or even airsofting guns. I am unsure whether or not I can borrow the old, decommissioned guns from within the bunker, but I am going to speak to them about it when I visit them next, before the filming. If not, I could probably borrow some airsofting guns from friends who I know own them.
I will be providing transport for the actors/extras, and have a friend who has an eight seater car and is willing to help us for free. That, plus my car which seats five should hopefully be able to transport all of the actors, extras, crew and equipment up to the location and back.
I won't be able to provide food and drink for the cast and crew because of the amount of money I have already spent on this project. I am going to speak to them beforehand, however, and advise them to bring their own food and drink. There is a reasonably cheap cafe on site, however, in case they wish to buy their own things. We should hopefully not be there for an extremely long amount of time though, so I'm hoping that people won't get too hungry.
The last thing is hotels. Because I'm not planning on staying at the location overnight - and in fact, hopefully not for longer than three hours - I will not need to spend money out on a hotel for the cast and crew to stay in.
This brings my overall budget to £159.14. I have set up a Kickstarter project for £130.00 which would really help a great deal with the cost of things, but so far there has been no donations. This may change at a later date, however, and would bring the total budget down by far, and if this was the case, I would be able to pay for food and drinks for the cast and crew.
Short Drama Diary Entry (3).
Upon returning to Kelevdon Hatch on Monday the 12th of May, 2014, I have decided that it would be a perfect location to film in. I have also emailed the owner of the bunker, who has told me there there will be a student fee of £65 for three hours, plus £7 entry fee per attendee, compared to the £100 per hour for normal film companies.
The site has a cafe, toilets, plug sockets and dozens of suitable locations - meaning I should hopefully be able to film my entire short drama there. The only issue is actually getting the actors, crew and equipment there and back. It's too far for me to expect them to hire a taxi, so I will have to arrange transport for everyone at some point soon.
The owner is currently on holiday until tomorrow, but I have dropped him another email stating that I wish to hire out the location for filming. I'm currently awaiting his response. I'm planning to film there on the 31st of May, 2014, which does give me an extremely short amount of time to edit the film, but hopefully I will be able to do it. I'm planning to have a number of rehearsals before the actual day of filming, so when we get there, I'm hoping that everyone will know exactly what they are doing.
On Wednesday, I actually went up and spoke to the acting department on the fifth floor of the college to see if any actors would be available to help with filming my short drama. I spoke to somebody named Alex, who stated that the second years were too busy with their final major projects, but I may be able to have a casting session with the first years on either Monday or Tuesday next week, but I would need to email Sarah Doney about this - which I have done. I am also awaiting a response from her about this, because if they are unavailable, I will need to find actors through some other means.
I feel that actors will be extremely important during my drama. Because it's very character-focused, I get the feeling that if I take on poor actors who cannot pull the script off, it will completely ruin the ideas of the film as the audience won't get the same response from the film as compared to if there were good actors starring in it.
I also have a number of people who are willing to be extras within my short drama. They're people I knew from my old school, and are currently taking acting in a different college, but they seem extremely willing to help me out with my production.
Another issue that I have is that this project is costing me a lot of money to create. I've started a Kickstarter project to try and cover the cost of hiring out the bunker, and I've sent the link around to almost everyone I know. However, so far, I've not received anything through the project, and I'm unsure if it will even work at all. There is seven days left on it still, though, so there may still be some hope for funding.
I still need to finish up with my script and my storyboard, however I have sent the beat sheet to a number of people who think that the idea is ambitious, but good, so I am more confident with this.
I also need to start work on my soundtrack, and figure out exactly what sounds I want to hear within my film. I've made a start on the lighting, however, and I know more or less how I want my lighting to appear on the day.
The site has a cafe, toilets, plug sockets and dozens of suitable locations - meaning I should hopefully be able to film my entire short drama there. The only issue is actually getting the actors, crew and equipment there and back. It's too far for me to expect them to hire a taxi, so I will have to arrange transport for everyone at some point soon.
The owner is currently on holiday until tomorrow, but I have dropped him another email stating that I wish to hire out the location for filming. I'm currently awaiting his response. I'm planning to film there on the 31st of May, 2014, which does give me an extremely short amount of time to edit the film, but hopefully I will be able to do it. I'm planning to have a number of rehearsals before the actual day of filming, so when we get there, I'm hoping that everyone will know exactly what they are doing.
On Wednesday, I actually went up and spoke to the acting department on the fifth floor of the college to see if any actors would be available to help with filming my short drama. I spoke to somebody named Alex, who stated that the second years were too busy with their final major projects, but I may be able to have a casting session with the first years on either Monday or Tuesday next week, but I would need to email Sarah Doney about this - which I have done. I am also awaiting a response from her about this, because if they are unavailable, I will need to find actors through some other means.
I feel that actors will be extremely important during my drama. Because it's very character-focused, I get the feeling that if I take on poor actors who cannot pull the script off, it will completely ruin the ideas of the film as the audience won't get the same response from the film as compared to if there were good actors starring in it.
I also have a number of people who are willing to be extras within my short drama. They're people I knew from my old school, and are currently taking acting in a different college, but they seem extremely willing to help me out with my production.
Another issue that I have is that this project is costing me a lot of money to create. I've started a Kickstarter project to try and cover the cost of hiring out the bunker, and I've sent the link around to almost everyone I know. However, so far, I've not received anything through the project, and I'm unsure if it will even work at all. There is seven days left on it still, though, so there may still be some hope for funding.
I still need to finish up with my script and my storyboard, however I have sent the beat sheet to a number of people who think that the idea is ambitious, but good, so I am more confident with this.
I also need to start work on my soundtrack, and figure out exactly what sounds I want to hear within my film. I've made a start on the lighting, however, and I know more or less how I want my lighting to appear on the day.
Location Release Form - Kelevedon Hatch.
J.A.Parrish and Sons.
Great Myles, Kelvedon Hatch, Brentwood, Essex. CM15 0LB
Tel .01277 365391. Fax. 01277 365391 Email:mike@japarrish.com
and Navestock Hall, Navestock, Romford, Essex. RM4 1HA
Tel. 01277 372314. Fax. 01277 372562
and Kelvedon Hatch Secret Bunker, Brentwood, Essex. CM14 5TL
Tel.01277 364883. Fax. 01277 36526. email mike@japarrish.com
VAT No. 246474446 Barclays Bank, High St, Ongar Essex. Sort code 20 29 86
Account No. 10710598 paypal mike@japarrish.com
LOCATION AGREEMENT
The Property. Kelvedon Hatch Secret Nuclear Bunker.
Period of agreement: 31/05/2014.
Production: "Hope Dies Last".
- The Licensor agrees to grant access at all reasonable times to the representatives of Nicola Sinclair during the period of this agreement to the areas specified, namely,
The vehicles to be parked in a position to be agreed.
- The fee of £65 plus VAT for three hour, or part thereof does not include a payment for advice or assistance provided by the Licensor in connection with the making of the film/production/article. Unfortunately due to some film companies not paying, this fee is payable before filming commences either by cleared cheque, paypal, bacs or cash For the purposes of this agreement a day is 9 hours from arrival to departure. A pro rata charge of at least a factor of three will be levied on all hours, or part of, over and above the 9 hour standard day unless agreed in writing prior to the use. A separate agreement will be required if you wish to involve or interview our personnel and a fee may be payable. Every effort should be made to exhibit a credit with the film, production, article.
- The Licensor acknowledges that the complete copyright and all rights for all purposes everywhere in all films, video, or audio recordings in any media, or photographs made by or on behalf of the Licensee, at the property, but limited to this production and related marketing of this production only, belong to the Licensee. Otherwise to the Licensor.
- the Licensee will be responsible for personal injury and damage to the property to the extent that such injury and damage is caused by the Licensee’s negligence arising out of the activities in connection with the filming / recording/and should produce a valid certificate of comprehensive Public Liability insurance.
- Where it is agreed that the Licensee has caused damage to any property or the contents thereof as a result of its activities the Licensee will make good or pay the reasonable cost of making good, any such damage. A deposit of £ 250 will be required at the commencement of use of the premises as surety against any losses or damage not rectified to the owners’ satisfaction. This in no way diminishes the Licensees responsibilities under clause 5 or 6 of this agreement.
- The Licensee will be responsible for the cost of re-instating the Licensors property to its former condition where any design alteration, addition or amendment has been made to the property.
- The Licensor hereby warrants that the licensor has authority to enter into this agreement on behalf of all persons having an interest in the property.
- Neither the Licensor nor the Licensee shall be liable for any breach of this agreement resulting from causes beyond their reasonable control, including but not limited to fire, strike, riot, embargoes, or regulations of any civil or military authority. This agreement takes precedent over any other and shall be interpreted in accordance with the laws of England.
I / We accept the terms and conditions of the agreement
For and on behalf of the LICENSOR
Date:
For and on behalf of the LICENSEE
Date:
Nicola Sinclair.
Signature:
Authorised Officer.
Address:
Blank Actors Contract for "Hope Dies Last."
ACTORS CONTRACT
Nicola Sinclair.
South Essex College,
Luker Road,
Southend-On-Sea,
SS1 1ND.
Date:
Dear
This letter confirms agreement that you will take the part of in the film "Hope Dies Last". This is the working title and the final name of the film may change. As you know, this is a low budget production and we are keen to ensure that everyone understands the basis upon which the Film is being made. If there is anything about this letter that you do not understand or you wish us to clarify, please do not hesitate to contact us.
1) You agree to be available to work during the filming period from 31/05/2014 to 01/05/2014.
2) You agree that the filming will take place in the following locations Kelvedon Hatch - Secret Nuclear Bunker, near Chipping Ongar and Brentwood..
3) You agree to give over any rights you may have in the finished film to Nicola Sinclair. This will allow us to distribute the film in any and every way we can.
4) We will pay a fee of £0.00 a day for your performance in this Film, however we are paying for your access to the location, and you will be able to explore the bunker freely with no charge when not required for filming.
5) We will aim to ensure that working days are not longer than 10 hours.
6) We will do our best to ensure your health, safety and welfare during the Shoot.
7) We will have public liability insurance to cover you during the Shoot.
8) We will provide you with food and refreshments throughout the Shoot. We will liase with you over your travel arrangements to and from the Shoot and either provide transport or pay travel expenses which we need to agree in advance.
9) We will be provide you with a VHS of the finished Film within 3 months of the completion of all post production.
Signed by the actor; Signed on behalf of the company,
Nicola Sinclair.
Date : Date: 16/05/2014.
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