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.
