Below is a chart showing the handoff of the following items from one show to the next during the D1 cycle.
- Critchfield Keys
- Production iPads
- Media Cards
- Craft Service Bins
- Director’s Viewfinders
- Script Supervisor Laptops
- Camera Batteries
Below is a chart showing the handoff of the following items from one show to the next during the D1 cycle.
The purpose of the crew drills is to practice working in each of the crew positions. Don’t get too caught up on trying to make the “perfect” scene. Keep it really simple. BFA3 department heads mentor those in their department, as follows:
Food will not be provided, so make sure you plan accordingly. You have a 1-hour lunch break, so either bring your own lunch or plan to go out nearby. Just make sure you’re back in time.
Crew drills will take place on the set in Stage A.
BFA3 will complete the Crew Drill grid together as a class. There are 8 BFA3 positions for each drill. This will give each of you an opportunity to mentor the BFA2 and get to know them better. This also gives you a chance to get your hands on the gear again to reignite that muscle memory.
BFA2 will work the 3 positions (2D, 2C, BG) in pairs. One of the 2Ds and one of the 2Cs will start off as Actors for the first half of the drill. Then they will swap, and the other 2D & 2C will be the Actors. The BGs will remain working in pairs during the entire drill.
The production will have 2.5 hours to unload the van, block, rehearse, build, shoot, and wrap.
Plan on having 6 total setups. Once you have shot the first 3 setups with the first 2D/2C Actors, swap them with the other 2D/2C Actors. Have the Director modify the blocking, the 2C lay down new marks, and then reshoot the scene with the other 3 setups.
No later than noon on the day before the prep, the Producer is responsible for sending a clean copy of the script (with scene numbers) in PDF format to each member of the faculty thesis committee.
In order to go as paperless as possible, everything except the screenplay will be presented digitally on the classroom monitor. Be sure to download any materials to the desktop computer for presentation.
Hard copies of the screenplay — with title page, scene numbers and lined script — will be handed out at the beginning of prep to each member of the faculty thesis committee.
If there are any VFX shots or if a camera other than the primary assigned thesis camera is planned to be employed in the production then the hard copy signed VFX approval forms must be shown to the Thesis supervisor.
The presentation will include:
In addition to the above requirements the Cinematography, Editing and Production Design faculty may require additional items in either electronic or hard copy form. Please see those faculty members for additional requirements.
Be sure that all above requirements are ready and provided to the appropriate faculty members at the time the prep is scheduled to begin.
Director’s Prep will occur in four separate sections and in the following order:
The producer, director, production designer, cinematographer and 1st A.D. must attend the prep. (The production team may determine that the attendance of other crewmembers is necessary, and may invite them to prep as needed.)
The purpose of this section is to give the thesis film’s producer, director, production designer and cinematographer an opportunity to present the film to the faculty – uninterrupted. We will start the prep with the director addressing any notes addressed or not addressed after concept prep. After that, both cinematographer and production designer will do their presentations.
Let images speak for themselves in both cases.
Address the Cassavetes experience, and also if any information regarding the crew drills exercises: please share with us any findings, what you learned.
Producer will do the final presentation, showing the temp strip board and a brief resume of it.
Students will make presentations to the faculty in the following order:
1. The Producer will introduce the title of the film, and the crew positions held by every student in Director’s Prep. This should be done quickly, and without formality; it’s intended to give the faculty an orientation to who is doing what.
2. The Director will present a outcomes of concept prep, and what has changed/has been achieved. Then a quick visual pitch of the story to the faculty. The Pitch should be in story order and be supported by visual slide, which illustrate the essence of the directors vision for each moment of the pitch. The director will also present their casting choices, with audition videos ideally, exercise and only as last resource with stills.
Remember that these are images that you have found and or created for visually illustrating your pitch of the story. The images are meant be representational of “key story beats” to illustrate and evoke the feeling of the moment in your story.
The most important thing is that you TELL the story as a storytelling, using the images as background support for your PITCH.
3. The Production Designer will continue to present a brief visual illustration of the major design aspects as it relates to the world and characters of the film.
The presentation will begin with the world in which the story takes place. The presentation should include:
After locations, the Production Designer will present photos and/or actual examples of key props/set dressings and the wardrobe for the main characters, with a focus on how the wardrobe helps illustrate the history, emotional construction and objectives of each main character. The presentation should include:
The Production Designer’s presentation should emphasize how the design of the world will illustrate – or serve – the overall expression of the story and its main characters (who they are and what they want).
4. The Cinematographer will present a three-to-four minute illustration of the “Cinematographic Plan” of the film. To show found and/or created photos and videos (including the Cassavetes workshop scene), the Cinematographer will demonstrate how color, light, shadow and visual language will illustrate the story. The presentation should include:
5. The Producer will return with a three-minute presentation going through the Production board scene by scene in shooting order with the planned CALL and WRAP times for each shooting day including the plan for the use of any overtime.
As the producer goes through each day they should discuss all pre- production accomplishments and challenges related to each scene, with a plan for how the team will meet each challenge.
The Producer should focus on all concerns that any objective person would have about the production (e.g., a difficult location, an exotic animal, a dangerous activity, etc.). The goal is to anticipate the faculty’s concerns and address them before the Q&A begins.
Faculty will ask students questions related to the presentation of the film in Section I. Students must be prepared to address in detail every story, script and production concern the faculty may have. The First Assistant Director will take notes during this section, making certain to document every faculty concern and related resolutions. It is important that the 1st A.D. has a complete understanding of any and all topics of discussion (the production team will rely on the 1st AD’s notes to address concerns after Director’s Prep). So the 1st AD should be prepared to stop the Q&A at any time for clarification.
This section will take as long as necessary for the faculty to have a complete understanding of the story, screenplay and production. (The directing faculty member will watch time and make certain to end this session with enough time to accomplish the next section.)
The purpose of this section is to give the director an opportunity to present the film to the faculty – frame-by-frame. Storyboards will be presented as a visual representation of how the film will play when it’s completed (e.g., the first storyboard should be the first image in the completed film), and SHOULD NOT be presented as a representation of coverage.
Directors will present storyboards one scene at a time – uninterrupted – describing the action and dialogue that happens in each frame. After each scene, faculty will ask questions and raise concerns. All other production members should be prepared to participate in the answers to the faculty’s questions. Directors will continue to the next scene only after all of the faculty’s questions/concerns have been addressed.
Any storyboard that depicts a camera angle that is intended to be shot as a visual effect, or is intended to be shot with a camera that is different from the primary thesis camera issued, must be either scanned from a yellow page or paper or have a large yellow banner applied under it in the Prezi.
The First Assistant Director will take notes during this section, making certain to document every faculty concern and related resolutions. It is important that the 1st A.D. has a complete understanding of any and all topics of discussion (the production team will rely on the 1st AD’s notes to address concerns after Director’s Prep). So the 1st AD should be prepared to stop the Q&A at any time for clarification.
The 1st Assistant Director will review with faculty and students every problem identified during prep. Together, faculty and students will determine who will be responsible for solving each problem before production begins. The 1st AD will create a list of these problems and responsible persons, which will become the “Action Plan.” Before the end of the day, the 1st AD will email the film’s Action Plan to each member of the faculty participating in the Director’s Prep. In the days following Director’s Prep, everyone will work to complete the Action Plan.
Prior to the first day of production, the 1st AD will email the completed Action Plan to the faculty, with a description of the resolution(s) for each problem identified.
If the action plan is not complete and submitted 12 hours before the first shooting day’s call time then the show will be penalized by the reduction of some or all of the shows overtime/PU days/special equipment privileges to be determined by the faculty production supervisor.
This is the opportunity for the directors to share their vision, and for the producers to share their plan with the Thesis Faculty. This whole section should last no more than 15 minutes.
Finally, the team should be prepared to answer any questions related to these items. We shall start asking any questions about story, and after that we shall move ahead with actors, questions about images, and so forth. Of course sometimes are all intertwined, but after the presentation we will start with questions about story.
Here is the link to the handbook for Sound Mixers:
Below is the data allocation for each production. If you would like to request additional data (e.g. for slow motion), you must present the Data Allocation Approval form at the Director Prep, and get approval from the Prep faculty. Then submit to the Head of Production for final approval.
|Format||Helium 7K HD|
|Data per minute||6 Gb/minute|
|Final Draft Page Count||5 pages|
|Shooting Days||2 Days|
|Pages per day||2.5 pages|
|Estimated data per day||300 Gb|
|Estimated data per page||120 Gb|
|Maximum Dailies Length||100 minutes|
|Maximum Dailies Size||600 Gb|