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.