Unit 4: Pre Production Portfolio


Unit Specification

Unit type: Internal
Guided learning hours: 90

Unit in brief


Learners study the requirements of planning and delivering a digital media product, carrying out essential pre-production tasks and creating a pre-production portfolio.

Learning aims


In this unit you will:

  • Understand the requirements of pre-production of a digital media product
  • Carry out pre-production for a digital media product
  • Produce a pre-production portfolio for a creative media production
  • Review pre-production of a digital media product.

Unit 4 Assignment 1 (Project Logistics) LO A
TBC - Learning Aim B
TBC - Learning Aim C

Unit 4 Assignment 1 - Assessment Record Sheet

Assignment 1


Types of production: film, television, audio, digital publishing, digital games.



How does the type of production determine the different pre-production approaches? For example, what might you need to consider for a magazine or print project that would be different to a video project? What might you need to consider for an audio project that would be different? What might you need to consider for a digital game or app project that would be different?

If the project were print based, the pre-production stage would consist of…
  • Flatpans / mock designs
  • Consideration of colour pallet linked to TA
  • Digital mock ups / prototypes
  • Copy / proofread by editor
One problem that could occur if these are not adhered to could be…
  • Missing deadline
  • Technical difficulties
  • Spelling mistakes making it to print

If the project were audio based, the pre-production stage would consist of…
  • Script
  • Rehearsals
  • Specialist equipment / recording studio
  • Scriptwriter

One problem that could occur if these are not adhered to could be…
  • Poor sound quality
  • Cost / availability of studio / presenters

If the project were app/game based, the pre-production stage would consist of…
  • Storyboarding
  • Pre-visualisations / mock ups / prototypes / demos
  • Specialist crew, such as coders, programmers, animators, artists
  • Testing stages

One problem that could occur if these are not adhered to could be…

Errors / bugs

However, the project is video based, so the pre-production stage will consist of…
  • Storyboard
  • Script
  • Location report / reccee
  • Risk assessment
  • Shooting schedule


Logistics: Time: deadlines, established industry formats for presenting pre-production work, scripts (written/dialogue/sound), written or visual storyboards, visualising content, establishing feasibility (expertise, costs, timescale, logistics).


For the full production schedule, from script pitching all the way to the DVD release, please see the supporting timeline, Appendix A.

How will getting this right or wrong impact on the quality of your end product? See this LINK for help.

What could happen if production over runs? What are the risks / repercussions of being behind schedule?


TOO ADD


Facilities: production equipment, post-production equipment, facility houses, prop houses, sourcing and costs of facilities.

Provide three different specific facilities you require and explain the specific products you want and relate this to the nature of of your production. Explain where you will get them, how much they will cost, and will you rent or hire.

  • Foley Studio (source)
  • Green Screen studio space (source)
  • Editing studio (mobile or other) (source)
  • ADR Studio for dialogue recording (mobile or other) (source)
  • Makeup studio (mobile or other) (source)

WHAT + FROM WHERE + HOW MUCH + HOW LONG + WHY

Personnel: technical crew, actors, extras, contributors, e.g. experts, specialists.

Who do you need to employ to complete the project? What specific skills are you looking for? See this LINK for help. 

Where are you going to find this professional crew (list actual sources/websites/casting agencies) Provide five different specific jobs roles your require and explain the specific experience and talent you want and relate this to the nature of of your production.

WHO + FROM WHERE + HOW MUCH + HOW LONG + WHY

SL Vision (source)

Production Attic (source)

Blue Fin TV (source)

Regulation, Legal & Ethical Considerations


How/why might the The Ofcom Broadcasting Code be relevant to your commission? 
How could you potentially violate it?
What would the repercussions be?
What would you do to ensure this does not happen?

How/why might the Copyright, Designs and Patents Act 1988 be relevant to your commission? 
How could you potentially violate it?
What would the repercussions be?
What would you do to ensure this does not happen?

How/why might the Trade Descriptions Act 1968 be relevant to your commission?
How could you potentially violate it?
What would the repercussions be?
What would you do to ensure this does not happen?

How/why might the Data Protection Act 1998 be relevant to your commission? 
How could you potentially violate it?
What would the repercussions be?
What would you do to ensure this does not happen?

How/why might the Safeguarding children and The Children's Act be relevant to your commission?
How could you potentially violate it?
What would the repercussions be?
What would you do to ensure this does not happen?

Risks and Repercussions...


  • Jail
  • Bankrupcy
  • Fine
  • Removal from TV/YouTube
  • Bad publicity





Exemplar Answers

P1 Answer

I will require an editor.  The production will be edited during the post production stage.  I will hire my editor from www.editors.com and they will cost £430 a week.  

M1 Answer (with analysis of roles)

I will require an editor, who will use the footage filmed by the camera crew, and produce the finished cut of the film.  During the post-production stage, the editor will be regularly sent the 'rushes' from the set, in order to progressively work on a 'rough cut' of the production.  I will hire my editor from www.editors.com and they will cost £430 a week.  As a result of having the editor on hand during the production stage, as well as the post-production stage, we will hire the editor for a total of 18 weeks, costing £7740.

D1 Answer (with evaluation)

During the post-production stage, the editor will be regularly sent the 'rushes' from the set, in order to progressively work on a 'rough cut' of the production.  This will allow the director to assess the progress of the production, and ensure the footage is satisfactory.  If it is not, this will be evident in the initial screenings, made available to the director regularly.  If there are issues with the quality of the footage, or the narrative ins't clear, additional pick ups could be organised in time, to avoid falling behind the shooting schedule. I will hire my editor from www.editors.com and they will cost £430 a week.  As a result of having the editor on hand during the production stage, as well as the post-production stage, we will hire the editor for a total of 18 weeks, costing £7740.


Assignment 2 - Pre-production


NOTE: Include a pitch.  Use your Unit 8 experience.


About the Client 

Brand values. How does this commision meet the needs of the client.
(full workshop to follow on Friday with Mr Rose)


Image result for netflix logo Image result for amazon prime tv logo Image result for apple tv logo

  • WHERE are we going to film?
  • WHO are we going to film?
  • WHEN are we going to film?
  • WHAT are they going to wear? Hold? Interact with?

FOR SCRIPT WRITING WEEK


Lesson Aim...
To start scripting the main production.

Lesson Outcome...
By the end of the lesson
  • ALL students will have started v1.0 of scripts
  • SOME students will have finished v1.0 and started v2.0


Success Criteria...
You will have used the BTEC blog and the tweeted links to start a draft of the script, into the Pre Production Document, formatted to professional industry standards.


Use these guidelines for the CORRECT way to format your script.  Incorrect formatting errors will prevent you from getting Distinction criteria.



FOR STORYBOARDING / SHOT LIST WEEK


Lesson Aim...
To start storyboarding main production.

Lesson Outcome...
By the end of the lesson
  • ALL students will have finished outstanding sections of the Pre Production document. 
  • ALL students will have started v1.0 of storyboards
  • SOME students will have finished v1.0 and started v2.0

Success Criteria...You will have used the BTEC blog to start a draft of storyboards, using the printed template provided, in pencil.

Resources:

Lesson Objectives on blog.
Paper storyboards available on desk.
Digital exemplars on blog.
Laminated prompts on desk.

Challenge:


  • SOME students may want to attempt a digital hybrid.
  • Combine photos / mock ups / scans of hand drawn material.
  • Use puppet warp to manipulate images for reference points.
  • Click here for storyboard template...





Need to use additional cinematography terminology here as well...

MID SHOT or MS



CLOSE UP or CU


EXTREME CLOSE UP or ECU


OVER THE SHOULDER SHOT or TWO SHOT 


Exemplars...


 



 



  

  

FOR SYNOPSIS WEEK...


Lesson Aim...
To start and complete the film synopsis.

Lesson Outcome...
By the end of the lesson
  • ALL students will have started an individual synopsis. 
  • SOME students will have finished an individual synopsis.
By the end of the next lesson
  • ALL students will have finished an individual synopsis.




Fill in the Blanks

1. Opening image

An image/setting/concept that sets the stage for the story to come.
Long ago, in a galaxy far away, a controlling government called the Empire takes control of planets, systems, and people. Anyone who resists is obliterated.

2. Protagonist Intro

Who is the main character? Give 1-2 descriptive words and say what he/she wants.
Luke Skywalker, a naïve farm boy with a knack for robotics, dreams of one day escaping his desert homeland.

3. Inciting incident

What event/decision/change prompts the main character to take initial action.
When he buys two robots, he finds one has a message on it—a message from a princess begging for help. She has plans to defeat the Empire, and she begs someone to deliver these plans to a distant planet. Luke goes to his friend and mentor, the loner Ben Kenobi, for help.

4. Plot point 1

What is the first turning point? What action does the MC take or what decision does he/she make that changes the book’s direction? Once he/she crossed this line, there’s no going back.
Ben tells Luke about a world where the Empire rules and Rebels fight back, where Jedi Knights wield a magic called the Force, and how Luke must face Darth Vader – the man who killed Luke’s father and now seeks to destroy Luke too. Luke refuses, but when he goes back to his farm, he finds his family has been killed. He has no choice but to join Ben.

5. Conflicts & character encounters

Now in a new life, the MC meets new people, experiences a new life, and meets the antagonist/villain.
To escape the desert planet, Ben and Luke hire a low-life pilot and the pilot’s hairy, alien friend. Luke, Ben, Luke’s robots, the pilot, and the hairy friend leave the planet and fly to the Death Star, Darth Vader’s home and the Empire’s main base.

6. Midpoint

What is the middle turning point? What happens that causes the MC to make a 180 degree change in direction/change in emotion/change in anything? Again, once he/she has crossed this line, there’s no going back.
Once on board the Death Star, Luke discovers the princess is being held as a hostage. He and the group set out to find the princess, while Ben sets out to find a way for them to escape the base.

7. Winning seems imminent, but…

What happens that makes the MC think he/she will win? She seems to have the upper hand, but then oh no! The antagonist defeats her and rushes off more powerful than ever before.
After rescuing the princess, Luke and the group try to escape. Ben sacrifices himself so they can flee, and Darth Vader kills Ben. The group flees the Death Star on their own ship.

8. Black moment

The MC is lower than low, and he/she must fight through the blackness of his/her emotions to find the strength for the final battle. What happens here?
Luke is devastated over Ben’s death, and he is more determined to fight Darth Vader and help the Rebels defeat the Empire. Luke joins the Rebel army, and helps them plan an attack on the Death Star’s only weakness.

9. Climax

What happens in the final blow-out between the MC and the antagonist?
The Death Star arrives in space near the Rebels, and the attack begins. Luke joins the assault team of fighter ships. The Rebels suffer heavy losses, and soon Luke is one of the few remaining pilots and ships. He takes his chance and initiates the final attack. Guided by Ben’s voice and the Force, he manages to fire the single, critical shot to explode the Death Star.

10. Resolution

Does everyone live happily ever after? Yes? No? What happens to tie up all the loose ends?
With the Death Star destroyed and the Empire severely damaged, the Rebels hold a grand ceremony to honor Luke and his friends. The princess awards them with medals for heroism.

11. Final image

What is the final image you want to leave your reader with? Has the MC succumbed to his/her own demons or has he/she built a new life?
Though Luke is still sad over the loss of Ben and his family, he has found a place among the Rebels, and with them, he will continue to fight the Empire.