risk assesment music video

RA	Activity / Task:				Frequency:		Page: 1 of 1
Please ensure that ALL staff & students (where necessary) are made aware of the findings
Identified hazards		Who might be harmed & how?	What are you already doing?	What further action is necessary? (write “none” if appropriate)
Traveling hazards (car)		Passengers in the car	Having a capable, reliable driver with experience.	Ensure all passengers have their seatbelts on and are not disruptive or distracting to the driver; and ensure that the driver is alert and paying attention.
Damage to equipment.		Equipment. And those responsible (by having to pay out)	Ensuring that no one person is carrying too much at any one time. Ensure all straps and handles on equipment are not broken and are working properly.	When filming ensure that the equipment is not left on the floor or in any place that crew members could trip over it. Have crew members pay attention and mind that they do not knock over any equipment. Ensure that no liquid is near the equipment at any time.
Crew members getting lost		Those persons that are lost might get themselves injured without anyone there to help them.	Ensure all cast and crew stick together and in failing that know exactly where they are and where they are going.	Ensure I have all the contact details of all members present, so that I am able to text or ring them at any time.
Equipment being lost or stolen		The equipment.	Ensure that there is never any equipment left unattended at all times.	none
Water damage		The equipment.	Ensuring that we have checked the weather forecasts, and also bringing water proof covers for equipment in the event of rain.	Ensure no liquids are in the vicinity of the equipment and to not use the equipment in the rain.
Action Plan from “further action”				By Who		By When (Date)

Music video planning

codes and concentions

Music video codes and conventions

the commisioning bodies / working as a writer

Independent writers

The process starts off at the writer who creates a variety of screenplays to show their ability. The majority of writers are freelance and will then either send out their screenplays too different commissioning bodies in an attempt to get an opportunity to pitch their idea to them and potentially get their work published. A range of different production companies can have commissioning bodies, from small independent companies to large corporations; there are benefits to pitching for each. Pitching to a smaller production company may mean you are more likely to get a commission as an un-established writer, as you would be cheaper to hire. 

Alternatively they could send their work through an agent who will represent them and then set it up the pitch for them.

Some larger companies like the BBC use forums such as the BBC Writers room, to allow new writers to try and brake into the industry.

If the screenplay is selected and is then funded by a producer the screenplay is handed to the script reader. The script reader’s job is to analyse the screenplay and its potential, adding their own advice on the piece. If they think that the screenplay would be a good investment it would then be handed on to the script editors whose job it is to help strengthen and improve the screenplay by talking to the producers and the screenwriter. Using their skills to spot potential problems and how they could avoid them. Again the majority of people who work within this sector are freelance.

 

Development executives are responsible for outsourcing and finding new screenwriters, developing the screenplays once found and also managing the team during the process.

Working as a writer

If you have an agent to represent you it will make the process a lot more smooth, companies such as, Knight Hall Agency Ltd. help new writers break into the industry by representing them; attempting to get their work to potential clients.

Once a writer’s work is optioned they will receive a lump sum payment for the rights to their work on terms agreed. However some more established writers may be able to negotiate to maintain rights to their work or receive royalties on terms agreed. 

Once a writer’s work has been commissioned, within film the writer has very little say in changes that might be made; they have sold the rights to their screenplay to the production company. Very different to how it works within the theatre, as screenplay writers in that industry still hold a lot of control of their work. 

Independent directors however have almost complete control over their own screenplays and the final outcome. Though it is mainly the more successful directors that ever get to this position to fund their own projects, directors like Quinton Tarrentino or Robert Rodriquez are some of the most famous for doing this; with films like ‘Pulp Fiction’ and ‘El Mariachi’.

Writers also have many legal and ethical issues to consider when initially creating their work. They must ensure that their idea is original and is not plagiarising any material that already exists to avoid breaking copyright laws. They must ensure that their views are not too radical or to bias of a certain religion or ethnicity to avoid offense to any persons.

The writer must also be weary  of the content ensuring that if the programme is for pre watershed then the screenplay should not contain anything inaproprete. Thought if such things were to be in the script it is most likely that they would be edited out later on in the process.

Group Pitch and Pitch Feedback

PUT PREZI HERE

Screenplay - Final

 

Screenplay 'TRICKED'

Screenplay - Draft

PUT YOUR DRAFT/MARKED SCREENPLAY HERE

My script presentation

http://prezi.com/zia-l1p1nc-2/present/?auth_key=xfnk3az&follow=an00n3iv2mwg&kw=present-zia-l1p1nc-2&rc=ref-28306093

develop and research an idea

Constraints

Time – the main time constraints for the completion of our project stages are only preliminary dates at the moments these dates are: pre-production is to be completed by Thursday the 14^th of February, production and all the filming is to be completed by the 1^st of March and post production is to all be completed by the 8^th of March. I feel if we continue to work and plan effectively; as we are at the moment, we will be able to achieve this goal.

Other time constraints we will face s that one of our scenes will be carried out around dusk, therefore we will have to monitor the times it gets dark in our area and see how effective it will look in the desired location.

Costs - We are quite fortunate in that we have many resources available for free to us via the college, many props, cameras and equipment, as well as editing software are all at our disposal. The only cost that is currently at our attention is that of a policeman’s costume which is important for our drama.

Personal – we are all more than capable in the technical aspects of the production so we shall be all contributing in that field. As for the talent for our Drama again we shall all chip in for the acting but we shall also have outside help from a few more people, we will of course ensure that they are all available on times of filming, confirming it with them in advance; of course choosing people that fit the part well.

Resources - As I have mentioned already we have the college’s resources at our disposal, in pre-production we have the paper and computers to document our planning and also all the forms in which to allow us to film in our desired locations. Production the college can supply us with many of the props and costumes that we need; we have already confirmed this. They are also able to supply us with all the technical equipment, cameras, sound equipment, tripods and others; the collage also is an easy way to find talent to perform in our drama. In post-production the college allows us to uses effective editing software.

I am also able to drive another useful resource that we will need is my car so that is extremely useful.

Legal and ethical considerations - Thankfully with our project there are not too many legal and ethical considerations to have to take into account. The biggest one we will have to consider however is the watershed,  though it is after this time we do need to ensure that we refrain from too many profanities and  to have no nudity.

Another legal consideration we must consider is not including licence plate numbers in shot, one of our scenes may potentially take part in a car park; therefore we must choose a spot where there are no other cars or where the licence plate is obscured.

As for the ethical side to things no themes address any form of ethics in our drama so this is something we do not have to consider.

Codes of practise – We have to ensure that our project and final result is in keeping with Ofcom regulations and standards, as I have mentioned previously our drama will be going out after the watershed therefore we have more freedoms in what we can air as a younger audience should then not be viewing this, however we will be mindful in not breaking any of the rules.

Copyright – we will need to ensure that no materials or themes in our product does not include any copyrighted material, we have already had the narrative for our drama cleared so we just now need to ensure we do not include any copyrighted material within the filming and post-production.

Research an idea

Audience and research – for audience research we carried out questionnaires handed out to our target audience of 20 to 40 year olds living in locally to us.  We carried this out to get feedback on what they thought on our product and if they would watch it, thankfully it was a positive result. When working on my own screenplay I also carried out a questionnaire with my target audience, in order to get feedback on my project, I think that this is a great way of doing audience research as it allows you to receive specific feedback from a specific audience.

Audience figures – we have looked at the viewing figures for similar programs currently being aired and learned that a show that helped inspire our drama, ‘silent witness’ is 9 in the 10 10 on the 30 most watched BBC one, with over 73 million views. This is very promising for us showing that programmes like ours are popular at the moment.

Primary content research – one form of primary research that we carried out was the fore mentioned questionnaires, we carried these out ourselves therefore it is primary. Another form of primary research which was carried out was in the form of a presentation, Zac the writer of the screenplay carried out a presentation with details about the drama and the group then gave feedback on their thoughts. I also carried out the same process on my own screenplay.

Secondary content research – for secondary research we looked on the BARB website to look into ratings of similar programmes, I have mentioned the data that we found in audience figures section.

Research into competitors – there are many competitors with our drama, as crime dramas are very popular on TV, programmes like ‘Sherlock’ and its American equivalent ‘Elementary’ and also programmes like silent witness. We need to ensure ours is more appealing to a wider audience if we are to compete with programs2 like these.

Research into market – when carrying out research into the market we watched several different existing BBC drama’s like ‘Sherlock’, ‘silent witness’ and ‘edge of darkness’ these helped us by allowing us to take a look into the different ways that they can be written and shot. I also looked at BBC drama hustle also and took much influence when writing my own screenplay.