Group Roles

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.