Schedule

Shot List and Mock Up Storyboards

After the storyboards had been drawn up in neat and organised into chronological order in Henry's folder I then typed up a shot list on Excel in the form of a table so that we could take it to each shoot to double check we had all the shots drafted on the storyboards and tick them off as we went along, this also meant that I could keep this and Henry (cinematographer) could look at his storyboards as we moved from shot to shot. 

This is the shot list after the saturday night shoot notice that annotations have been made throughout the week on this paper. The circled numbers indicate what shots we needed to capture still after this shoot, a constant reminder of what we had to complete. The highlighted shots were what we were aiming to capture that night of shooting acting as a mini schedule. Additional sketches have been made, I believe these were to conceptualise the lift scene in which Adam runs into the lift, we had not storyboarded these originally but felt that they would work better than the previous way we had understood that part of the scene, this happened throughout the filming, as we felt that certain shots were either not needed, alternatively we filmed additional shots when we felt they were necessary these usually took the form of CU shots of Adam's expressions and reactions to what was happening in the scene.  

Below are some of the mock up storyboards the cinematographer and I drew up, to help us gain an idea as to how each scene would look. We drew them up quickly and in rough complete with annotations with speech or directions to the actors. Having filmed in the market before we had a vivid idea of the layout which made it easy to decide where each scene would be shot and in which direction. I helped the cinematographer draw some of these storyboards up in neat for his folder. When approaching the film we both agreed that we would keep the scenes simple in terms of the amount of cuts, angles etc. This style of filming i believe has come from our inspiration from the 'Mama' film we screened in class which was a there minute short shot entirely in one take, which is suggestive of realism. The idea of long takes is something the cinematographer have enjoyed from the film 'The Shining', with shots that capture the precise architecture of the location, with long tracking shots symmetrically framed.    

The sketch on the double page spread below is a birds eye view on the camera movement in the scene that involves characters John Greene and Adam Praed as they discuss the job and the previous night guards suicide in the market. Having a simple camera movement in mind we felt a long track with the camera facing horizontally moving parallel to the two men walking  on the other side of the room would work perfectly, this movement also suggests that the two men are being observed as the camera position is withdraw, acting as the eye of Lily or entity in the market.

In the below mock up storyboard the top left drawing is of the locker room, with a shot reverse shot set up of the two actors and the last shot a wide of the room, the drawing to the left of it is of the opening CU of the locker with a sound bridge. 

The left drawing is Adams security office with his monitors, notice again a simple two different camera angle set up. 

Documentation

Actor Release forms.

Michael David Worden

Emma Jeng

 Lea Alley

David Castleford Parkin

Actors

As the role of producer I set out by contacting actors weeks before the shoot to provide them with sufficient time to get a grasp on the script and allow them to organise there time around our shooting times/dates, so that I could then construct a detailed schedule outlining what scenes would be shot on what day.

From the outset of finding these actors I wouldn't settle on using student actors to play the roles in the film as I felt it would let down the script and location, also on a professional level I preferred the idea of more experienced actors in terms of pulling off the characters essence. 

Failing to find any actors that would suit the part which were in the local area on various sites, I contacted my brother a third year film student at Cheltenham university for help concerning casting. He suggested that I use a website called castingcallpro.com which he had previously used for his films to scout talent. Following on from this I created an account and posted the film as a job on the site, I listed all the details of the film; Filming location, shooting days and hours, script, payment and all the characters that needed to be cast. Subsequently I created template message which described the previous details and an attached script, I then refined a search on the site to the South Yorkshire area and began sending the message to actors that seemed suitable for the role of each character. 

Many actors replied very quickly however most declined due to the role being unpaid and many with regret saying that they weren't available but loved the script nevertheless I had luck later on in the week since I had sent the messages as three actors contacted me requesting more details about the film which soon landed them the role in the film. I declined actors that replied to my initial on the grounds of their appearance and show reel footage recognising that they weren't fit for the part. 

Below are the profiles of the actors I decided to cast. 

David Castleford - Adam Praed

quick details
playing age	40
height	5' 11" (1.80 m)
weight	11st. 3lb. (71kg)
hair color	Brown
eye color	Brown
build	Medium

Michael David Worden - John Greene

quick details
playing age	51
height	5' 9" (1.75 m)
weight	10st. 0lb. (64kg)
hair color	Grey
eye color	Hazel
build	Slim

Emma Jeng - Lily

quick details
playing age	29
height	5' 5" (1.65 m)
weight	9st. 0lb. (57kg)
hair color	Brown
eye color	Green
build	Slim

Lea Alley - Young Girl

As this role had such minimal dialogue and screenplay I decided to cast Lea Alley (Henry's girlfriend) to play the young girl. However this wasn't to avoid further actor searching as Lea has done previous acting and appearances in television advertisements which resulted in her professional attitude towards the role, she had also auditioned for a role in a Spielberg's animated film 'Monster House' again this gave me confidence that she would take the role in our film seriously. 

10 Minute Location - Castle Market Sheffield

Having filmed our documentary in castle market we had a good repor with staff members thus making the process of securing the building as a location for the drama an easier task. Both myself and Henry approached the security staff we were acquainted with who then introduced us to Andrew Chapel the head of castle market. We discussed our intention to use the market once again for filming and what necessary arrangements would be made on both our parts, we then met again with a schedule that outlined the times in which we desired the premisses as well as an agreement, Andrew had no problem with our intentions and was more than happy to aid our production. 

Following the hand in of the schedule we had a meeting in a conference room with Andrew and the head of security to discuss any further details that we hadn't already outlined. In our storyboards that I helped Henry draw up and the script itself there is a reference to Adam Praed sitting in his office on two occasions and having spent time in various parts of the market we noticed a small office that contained monitors which the security staff manned during their shifts, naturally we recognised this as a prime location to shoot Adam Praed's office scenes as it had all the necessary art direction and wouldn't have to be dressed so heavily which was ideal for us in terms of time and good for the staff as we wouldn't have to alter any of their property. Andrew was fine with us using this room for our shoot however due to its need to be manned throughout the night shifts that we were shooting in Andrew arranged that we would have to film on a certain night (thursday) this date was then written into the schedule, following this I contacted David Parkin to let him know that we would be shooting those scenes on that thursday so that he could get prepared. 

As we would be bringing a large amount of filming gear to each shoot Andrew kindly allowed us to store our equipment in a locked room after on our request, this room was monitored during the day by staff and locked throughout its time being stored. This became a great advantage to the filming week as we wouldn't need to transport equipment to and from the market apart from the thursday to re-checkout the gear. 

Parking was secured throughout the week of filming for actors and crew, this was towards the rear of the building in the loading bay which in the day was used by traders, this meant that actors need not worry about finding parking, saving valuable time also meaning that we as a crew would avoid any parking fees in relation to the budget. 

Upon this meeting I presented Andrew with the location agreement form to certify on paper that we could use the property for this week of filming, the location was then fully secured for the shoot. 

We had concerns of where we would film the interview scene, Andrew kindly let us use an old disused office on the top floor of the building which made the art direction an easier task as much of the office space still contained various items, the room was also large enough to set up the two shots Henry had storyboarded. Andrew also granted us permission to film in the larger office space which was still being used. 

In our meeting with Andrew we also discussed the following issues:

Lighting

Power (sockets)

Notifying security of our intentions

Safety and evacuation from the building

A schedule of filming indicating which parts of the market we would be using on each shoot

What equipment we would be using 

Setting up the monitors to film a precise part of the market 

Recreation room for actors and catering

All of these issues were adressed and sorted before the meeting was adjourned. 

Photos of the market: