Pre-Production Report
This is a report on the essential pre-production work that takes place
as part of a creative media production. In order to create a successful product,
the producer needs to complete pre-production elements to plan everything so
that the budget or time is not wasted while producing it.
In this report, I will refer to these case studies: ‘World War Z’, ‘Monsters’
and ‘One Mile Away’. The examples of successful and unsuccessful pre-production
elements are a good guide for producers that are starting their first media
production.
Finance
and Budgeting
When making a media product it is important that you have the money to
finance it. There is a variety of different funding methods for producers such
as: crowd funding, private investors or government funding. Depending on which
option you decide to use it will either have a positive or negative impact on your
pre-production, so it is important that you consider each option to see which
suits the production best.
‘One Mile Away’ used funding from a variety of organisations and
charities such as Kickstarter, Britdoc and Channel 4. It received funding from
the Britdoc Foundation of £5,000 and £10,000 from Barrow Cadbury. Getting
funding from many places means that the money is spread out amongst Channel 4,
Britdoc and Barrow Cadbury. Although it wasn’t funded by a big production company
it got a total of £21,033 by using crowd funding. Usually, larger production
companies dislike sharing the distribution with other smaller companies so, it
would not be effective for ‘One Mile Away’ to get funded by a larger production
company as they often want big stars and control of the media product. I would
recommend this method of using funding from a variety of places as it is
efficient and a great place to start for a local community project. Kickstarter
is the main crowd funding website many successful producers use. Crowd funding
is also a great way to keep original ideas as you will have more control over
what happens to the production and you would not have to pay the money back.
Receiving funding from a big studio model increases your chances of
having a big budget. ‘World War Z’ for example, started with a budget of $190
million from Paramount Pictures and Skydance Productions. Due to several
failures during pre-production, the producers had to pay $200 million to
re-film the final act meaning they did not plan very effectively. Which demonstrations
that pre-production is an important part of any media product. No one was happy
with the ending and this should have been solved and changed before filming
began in the pre-production stage. In this situation, it worked out well as the
big studio model didn’t want to share the distribution the producers couldn’t
do anything but give Brad Pitt more funding. Therefore, the film managed to
make more than $500 million worldwide. However, as you would not use the budget
on locations there would be no need for high funds. Also, it is very unlikely
to get funding from a big studio model due to the majority of popular
productions being international shoots.
Volunteers are an easy way to save money on a small budget production. This
is a good option for producers who want to film in areas of violence and
danger. For example, most of the ‘One Mile Away’ crew were volunteers and were
aware of what they were getting themselves into. This also means they don’t
necessarily have to get paid depending on the amount of money the production
gets after it’s made. However, all participants have a right to get paid.
Equity is a union which says how much the actors should be paid. Independent producers
can join the Pack organisation. You can find more information on the Pact website. Extras
usually work for free or get a small payment. If a production does not do well actors
may not get paid if their contract is based on the production’s profit.
Otherwise they would have to be paid the amount of money their role deserves.
For a small project, I recommend that the actors and extras are payed based on
the profit your product makes so that the money you make isn’t all spent on
paying the cast and crew and are guaranteed a successful profit.
‘Monsters’ was funded by a bank loan and received a budget of less than
$500,000. This means the producer had to pay the money back after the
production. For the bank to give Gareth Edwards the money he had to first pitch
the idea to them. I do not recommend getting a bank loan because if the
production doesn’t make enough profit to pay it back you will end up in debt.
Planning where how much money should be spent is essential to making
your product successful. Managing your budget will help this become efficient. Planning
means you do not risk running out of money, like the producers of ‘World War Z’.
A small community project would most likely get funding from several
organisations, because a big studio model wouldn’t expect it to get a huge
profit it would be more effective to use crowd funding to boost your budget.
Logistics
This includes deadlines, cast and crew, costumes, props, clearances,
etc. As a producer, you need to consider all these elements. You need to make
sure that you are setting and meeting deadlines so that you finish the
production on time. Spending longer than planned on a certain stage of pre-production
could lead to delaying production and overspending on your budget. So, you need
to plan your deadlines carefully and accurately to insure the production goes smoothly.
According to the Wikipedia page the production of ‘World War Z’ had to
return ‘to Budapest for seven weeks of additional shooting’ because the producers
didn’t plan enough time to film all the scenes they needed, or they changed
their storyboard after seeing the footage they had filmed. This shows the producers
didn’t plan the logistical elements well and therefore had to return to the
location and pay to stay again. Therefore, it is very important to meet your
deadlines and have concrete plans in place at the pre-production stage. Due to
filming locally, a small community project would probably have fewer deadlines
related to travel. So, you can focus more on the other logistics like costumes
or props.
However, not all logistical elements are as important depending on what
type of media you are producing. For example, ‘One Mile Away’ is a documentary
so the producers didn’t need any costumes or props. This does not necessarily
mean that producing a documentary is cheaper as they did need bullet proof
vests for their safety. While producing ‘One Mile Away’ the film crew went to
meet up with gang members ‘only to be stood up’. This shows that documentaries
are unpredictable, so it is necessary to have good time management as well as
making sure you have some extra time to go back if needed. As a producer you must
think about transport, hiring locations and facilities, food for the cast and
crew and making sure you pay for clearances. For a small community project, I
would recommend making a solid plan and then following it through to ensure you
don’t go off course.
If something does go wrong, you need to have a contingency plan ready.
Contingency plans are usually in the form of a word document. The way you plan
and manage your production schedule will show in the end. An effective schedule
should state the different logistics needed for your production. Therefore,
having considered these important factors your pre-production should be a
success.
Codes
of Practice/ Regulations
In order to distribute the product media producers need to consider a
range of legal factors such as risk assessments and need permissions for the
use of music, cast, location and extra releases.
‘World War Z’ had numerous extras and the producer had to make sure they
had received release forms from everyone to have permission to show them in the
film. Without this the producer wouldn’t be able to use the scenes with the
extras in. This would impact the production; if the people who appeared in some
of the scenes later said they didn’t want to be shown in the media your product
wouldn’t be released. However, with a signed release form you can show the
media product. Also, with more than 3000 extras it was probably challenging to
organise everyone and keep track of all the release forms. If they were lost it
could mean the scenes with the extras would have to be left out of the film. Therefore,
I would recommend taking a picture of the forms just in case they got lost. Even
a small community project needs release forms to show the product. Without them
it would be illegal to show footage of people who did not give their permission.
Usually, release forms are a printed word document which requires a signature
to successfully secure the permission to show the actor or extra in the product.
You also need permission from the landowner to film in certain
locations. If you were not able to film in the location you wanted to, you
should always have a backup. Well known locations are usually hard to film in;
you either cannot afford to get there or the council do not allow filming in
the area. Therefore, it is a good idea to have backup locations if the first
does not work out. Producers often use cheaper methods like using a location to
double as the location you wanted by adding small details like the producer of
‘World War Z’ did by hiring American cars and created fake shop fronts to make
the location more realistic. Locations are a key part of pre-production, where
you film affects your budget and possibly the profit made from the product. Sometimes
you can get away with not having the right documents and permissions especially
if it is a public area where people often take photos, so you are unlikely to
be spotted. However, this is a risky method which I do not recommend. Few locations
may be a danger to cast and crew members, so you would need to invest in
security guards depending on the situation. As the producer, it is your
responsibility to ensure the safety of your team and make sure they are
informed about the type of danger they are putting themselves in. For a local
community project, you would need to ask for permission to film in the location
and to block the access to the area so there are no interruptions during
filming. As mentioned before you could risk it and film without permission but
personally I think it is safer to just ask the council or landlord for approval
to film.
While filming ‘One Mile Away’ ‘the police tried to seize the film rushes
as evidence of criminal activities.’ Later, the producer was taken to court and
won because she had the right forms, such as location releases and risk
assessments, allowing her to film for a documentary and the police were unable
to seize her footage. Having the right forms with consent to film and the right
to ownership is important to get in pre-production. Without the right
regulations the producer would have probably been unable to continue filming
and the production would be unsuccessful. In documentaries, some faces are
usually blurred because they don’t want their face seen but they are still
shown in the media. For a community project that is a documentary this would be
a good method to use. But, if the production is a short film or something along
those lines, you need to have permission to show everyone in your footage
otherwise it would be against the law to show those scenes.
Risk assessments for example allow producers to identify any risks and
find the best possible way to avoid an accident happening. Although risks are
assessed sometimes accidents are unavoidable. For example, in ‘One Mile Away’
‘Woolcock had a gun pulled on her’. If there is a risk of danger in the
location you are filming the cast and crew must be fully aware of what the
risks are which is why most of the crew members filming ‘One Mile Away’ were
volunteers. All projects need a risk assessment, so I recommend establishing all
the dangers around the local area you will be filming in. Also, these assessments
can reassure the cast and crew so that they are more comfortable working in the
area. Risk assessments are often in the form of a table or sometimes a word document
explaining the different precautions that are being taken to prevent the risk.
In ‘Monsters’ Gareth Edwards the producer took a risk by casting non-actors
for his film. He believed a real couple should play the main characters and
used non-actors for a more realistic reaction. This could have backfired as
they did not have any professional training and could have made the performance
less convincing. However, for Edwards this payed off and the Guardian even
stated that it was a ‘very convincing performance’. For Edwards the risk was
worth it however, I would not recommend doing this for a small community
project as there is no guarantee it will pay off. Unless you have a big enough
budget you might have to compromise and cast fewer talented actors with less
experience.
Overall, codes of practice and regulations are important and cannot be
ignored while in the pre-production stage. Risk assessments for example, allow producers
to identify any risks and find the best possible way to avoid an accident from
happening. So, to succeed in your pre-production planning I recommend following
the regulations and making sure you have permission to film in in your local
area.
Pre-production
Documentation
Producers need to fill in or oversee the completion of numerous
documents, such as: a storyboard, script, shot list, equipment needed, release
forms, etc. All these documents should be completed before filming.
The type of media you are producing does not change the fact that you
will need to create a storyboard for instance. However, if you’re producing a
documentary a storyboard would not work in pre-production as you cannot plan
what will happen. For example, the producer of ‘Blue Planet’ didn’t know if the
crew were going to be able to film what they needed. They were unable to see some
of the animals they needed to film so they had to have masses of spare time
planned to be able to go back and try again. However, that was not always the
case, sometimes the producers had to go home without the footage they came for.
For documentaries, the storyboard would be made after all the footage was
collected. Nevertheless, you should always plan what you want to cover. This
shows it is essential to be prepared for setbacks and film more footage than
you need to ensure you have enough to create the media product. For a local
community project, it should be relatively easy to come back to locations at
low costs because it is local. Even for a local project you should consider
making a storyboard to plan out how and what you wish to film. Storyboards do
not have to be works of art, they just need to be clear in telling crew member
what happens in each scene. I would argue that you are better off making a
simple black and white sketch than a colourful piece. Not only would this save
time but prevent you from creating unrealistic goals on colour and so on. Click
here for an example of a good storyboard.
An unsuccessful example of storyboarding would be the pre-production of ‘World
War Z’. As mentioned earlier ‘production returned to Budapest for seven weeks
of additional shooting’ and a screenwriter was hired to ‘rewrite the film’s
third act’. Because there was a lack of communication between the producer and
his colleagues they ended up disagreeing on the conclusion of the film and they
had to reshoot half an hour of footage for the ending. This impacted the
product as the release date had to be pushed back and they were lucky to have
enough budget to go back and reshoot the scenes. Paramount decided to add to
the budget because they did not want the producer going to another company. Big
studio models tend to dislike sharing the distribution for the purpose of profit.
I recommend creating a storyboard and consulting with your production team and
encourage constructive criticism, before you produce the media and before it’s
too late to make changes. So, it is important that you carefully plan what you
are going to film with your production team.
Planning the equipment you need for filming will help save time and
increase space for the crew. A successful example of organisation of equipment
and crew is the ‘Monsters’ production team. Because the producers had a small
crew ‘most of the time they drove in one van that fitted seven people’. Creating
call sheets helps organise your cast and crew so they know where and when to be
on set. Also, it is useful to know what equipment you need so if you are hiring
it you can save a bit of your budget by knowing what you need for that
particular shoot. Taking equipment which you do not need will have a negative
impact on your budget. Paying for it and not getting a chance to use the
equipment is a waste of money. However, a list with all the equipment you require
should help you be more organised. I would recommend planning ahead of each
days’ shoot so that you have all the equipment you need ready.
For these reasons, keeping these documents on you at all times will make
shooting easier and keep your team organised. These documents cannot be ignored.
Without them you will have no plan on what and who you need at a shoot. So, for
a successful pre-production you will need to plan what you need and when you’ll
need it. These schedules are often displayed in tables to make it easy to
follow.
Pre-production
Process
Media producers should follow a schedule which shows what should happen
in chronological order. For example, the first thing a producer should do is get
hold of a script, then create a budget based on their funding method. At that
point find a location to film in which is within the budget, have a script
breakdown with all the details of finance, logistics and other documentation
information, hold auditions for casting, create a shot list, storyboard and
time the script. Lastly, create a shooting schedule.
There
isn’t a specific ‘right’ order to the process. However, if you hold the casting
auditions before creating a script breakdown sheet you will not know how many
or what type of character roles you need. In the pre-production process of ‘World
War Z’ Robert Richardson was announced as the cinematographer and ‘in the same
month it was reported that filming locations would include Pinewood Studios and
London, England.’ Here the producer decided to pick a part of the crew then
choose the locations soon after. His quick decision making makes me think it
was a little rushed and he just wanted to get on with filming it. You should
not rush the pre-production process because it will affect you later by slowing
it down. The reason for this is because you will have to go back to correct any
errors you have made while rushing. However, if you are working on a tight
schedule you should pay extra attention to your time management and make sure
you are able to finish your pre-production. Whether it is a large or small
production you need to consider all factors of the process including the
effects needed for the product on the script breakdown sheet.
Looking
for cheaper alternatives for expensive locations is something the producer of ‘World
War Z’ did and used Glasgow to ‘double as Philadelphia’. The producers also
designed fake shop fronts and American cars were parked on the roads. This
method saves time and money on traveling. Although ‘World War Z’ had a
relatively large budget the producer still went for the cheaper alternative. I
would recommend finding a cheaper ‘fake’
location rather than spending money on the real thing. This method will help
you in more than one way. A small community project would certainly benefit
from this useful method as you could keep it local and have a chance to show a
good location at a low price.
Overall,
the timescale of the production should be considered as it is vital to maximize
the use of your budget without having to overspend on extra time for reshoots.
I recommend making a checklist of pre-production elements to keep track of your
progress.
Recommendations
and Conclusion
In
conclusion, planning in pre-production is crucial for a successful outcome. When
making a small community project keep in mind your budget and plan around it so
that in the end you do not run out of money to produce your media product. The
outcome of the documentary (‘One Mile Away’) and both films (‘Monsters’ and ‘World
War Z’) were successful. Even though they later had overspent, and its
pre-production was not as thorough as it needed to be, the budget still allowed
it to be a success. A small community project however cannot risk poor planning
as it will most likely have a low budget given by small funding methods. Pre-production
planning may hugely affect your future productions whether successful or not.
If successful, your next project may have better funding. And if not, your idea
may be turned down when pitched due to how your bad reputation.
Overall, for local community projects, I recommend crowd funding because
the budget is most important as it sets the boundaries for pre-production. It
would be a good idea to have a contingency plan and think of solutions to any
problems you may have. As a producer you are responsible for the safety of your
cast and crew members therefore, I highly recommend taking risk assessments. Producers
need to be very organised to succeed in producing their media product. Lastly,
it is very important you have all the pre-production documentation on you at
all times so that you can prove you have permission to be filming.
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