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Video Planning Guide

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Video Planning Guide

  1. 1. GENERIC PLANNING DOC Brandon Lambert
  2. 2. GUIDANC E This template PowerPoint presentation includes all the relevant elements you should cover for a practical project. It is not exhaustive, but provides some guidance on stages, types of planning and documents you should be assembling. This is not a one size fits all document, you will need to amend, rejig and add/subtract sections depending on what you are making. Add more pages to each section where necessary [you should be doing this!] Add visuals as you see necessary. This document will be added to as you progress through the pre-production phase. Delete this slide when complete
  3. 3. TASK 1 Idea Generation and Research
  4. 4. RESEARCH & IDEA GENERATION Use section to track your process of of generating ideas. List and discuss the styles, techniques and conventions that you have identified in your research. Explore how you could approach the project using different methods You can add any extra info you think is relevant, images, mind maps, etc For quick mind maps you could use bubbl.us Make sure you assess the viability of ideas as well as the potential for them creatively.
  5. 5. POTENTIAL APPROACHES I am going to approach this project with an open mind, in the past I have limited myself in terms of creativity I put into my work, for example, I have never experimented with any voice over content or anything like that. I think this project is a good starting point for me to experiment more.
  6. 6. POTENTIAL TECHNIQUES TO USE I think the format and subject matter of my product I have chosen to use this leaves me with much room for experimentation with different editing styles and techniques. I aim to maintain a specific visual aesthetic that will require visually dark color editing techniques, I will adjust the hue of certain clips to fit into this chosen aesthetic. I also plan to use different intro templates, I want my documentary to open up with a visually pleasing intro template scene to introduce the podcast.
  7. 7. CONVENTIONS OF YOUR CHOSEN FORMAT/GENRE YOU ARE WORKING TO Due to the diversity and contrast within my chosen topic of discussion in my documentary, there are quite a lot of different genre conventions for me to include and take advantage of in my production. For example the clothing style itself is a genre convention as its consistently used within this sub genre of music/fashion. Another genre convention I will be addressing in my product is the match between music and fashion, there is a maintained style that is portrayed across not only the underground music industry but the underground fashion industry as well, the artists within the underground seem to like to keep a consistent theme even in two totally different aspects of their self image.
  8. 8. MIND MAP OF IDE [SUMMARY OF ID Document ary ideas As for editing I would like to include a lot of artistic techniques. Maybe use some interesting transitions between clips to give off an entertaining feel. I would also like to include the technique of sectioning my production work, I will make clear the current topic of conversation by sectioning and potentially including a title card of sorts to introduce each section. Since my production is focused on music and fashion I was thinking of maybe gathering footage in some clothing stores and maybe some music equipment stores also. I attended a show a couple of months ago as well, the footage gathered there would work perfectly for my work. I think it would also be a good idea to interview someone who is educated on the subject matter of my documentary, this way their input will be genuine and well informed,
  9. 9. SUMMARY 5 opportunities of your ideas •Will be able to accuratley portray an industry I am passionate about, at the same time debunk any misconceptions/disingenuous statements or opinions. •Can experiment with different editing styles to match the diverse visual aesthetics of my chosen industry. •A chance to further explore a topic I have been involved with and interested in for a long time. •Can educate others that seem interested in the topics I will be discussing. •Will be able to gain valuable insight into creating and distributing a product of the documentary style.
  10. 10. SUMMARY 5 restrictions to your ideas •Documentary is only allowed to be a maximum of 5 minutes so might not be able to include everything I wished to talk about. •Don’t have access to a professional microphone so audio may be slightly lacking in quality. •Chosen quite a defined sub genre of music/fashion to document so I am quite limited in terms of the topics I can discuss. •The specific fashion designers I plan to discuss in my documentary maintained an anonymous online identity in terms of the personal information they reveal, so might not be a great variety of information on the fashion designers themselves. •Will be hard maintaining an aesthetic theme throughout my
  11. 11. FINAL IDEA – RATIONALE Why this idea? Why this format? What skills do you have that support this and what are you looking forward to exploring more. I have chosen this idea because the topic is something I am very passionate about, I think if there is a genuine interest in any subject matter of an informational product, the final piece of work will be better because of that. I think my current knowledge of the topic I have chose will support me as I wont need to spend as much time on research, instead I can use that time to perfect my idea and explore different visual outlooks. I am heavily looking forward to seeing how I manage to portray the visuaol aesthetic of such a diverse industry in a single product.
  12. 12. FINAL IDEA – CREATIVE CONCEPT What do you want to make, reference the look, style and type of project. This could be a synopsis of the piece and some visual reference points. Reference content and the themes you are wanting to explore and resources that might help you to achieve your aims. I will be making a documentary style educational tape discussing a wide variety of different aspects of the underground music/fashion industry. The documentary will adopt a dark, modern stylistic aesthetic which will feature a lot of artistic editing techniques, I think this will accurately display the themes and creative aesthetics within the inudstry. The background footage will be of real life examples of certain fashion items, underground music related footage and an interview of an underground artist. This footage will be coupled with underground songs and a voice over discussing the topics.
  13. 13. TASK 2 Pre-production Assessment
  14. 14. GUIDANCE: PRE-PRODUCTION ASSESSMENT You need to assess the viability of your production and investigate what is required to enable you to make it. Much of this task is hypothetical, which means you will need to investigate standard costings for such a production and apply these to your planned production considering which equipment you would need and resources, etc Resources to support this are on Teams. Delete the questions on each slide and insert your responses
  15. 15. TITLE OF PRODUCTION/PRODUCTION OUTLINE Summary of intended production: I am going to make an educational documentary that focuses on relaying certain important information while simultaneously conveying the chosen subject matter in a realistic and genuine way. The documentary's subject matter will be the underground music/fashion scene, I hope for my final product to be an enjoyable yet informative documentary that utilizes to its advantage interesting and artistic editing techniques. I also hope for the format and how I have laid out the different portions of the product to be of high quality. Equipment requirements include access to a windows computer, premiere pro and cap cut on my iPhone, these things will allow me to edit and finalize my work.
  16. 16. LOCATIONS You need to identify locations and plan a recce. What are the limitations and risks, eg distance, access, cost, weather? How will you manage this? I will be filming a portion of my production in Flannels, as it sells and displays some of the clothing brands I shall be discussing in documentary, the only risk I can think of for Flannels is not being allowed to film inside, distance isn’t an issue, its 1 bus journey away for me and my collaborator. Cost is free as I own a bus pass and weather isn’t an issue either as the location is in doors. Another location that will feature in my product is the electric ballroom, I attended a show there a couple of months ago, the footage I gathered there is a great representation of some of the social events of the underground music scene. The rest of the footage will be filmed around town, not necessarily anywhere specific, just out in public, since this portion of production footage gathering will be outside weather could cause some problems, if so we can just gather footage on another day.
  17. 17. EQUIPMENT My equipment requirements are pretty simple, all I need is my iPhone to gather some of the footage and also edit a portion of the documentary. I also need access to a windows computer that has premiere pro, I will use this to piece together my footage and make sure the individual clips are cut together well, college can provide this.
  18. 18. FACILITIES Where will you edit your video? Do you need any other specialist facilities…? I will edit work at college using premiere pro, I will also edit some other of my work at home using cap cut on my phone.
  19. 19. PERSONNEL CREW: What is you team? Who is in it? What are each team members strengths/weaknesses? When are they available? CAST: Do you need any external performers? When are they available? Cost implications? Will you have to feed them? Transport them? Other personnel? Is anyone else helping you? Models? Contributors? Interviewees?
  20. 20. PERSONNEL My team consists of me and my interviewee/collaborator Alfie Horwell, as for his strengths and weaknesses I think his knowledge on the subject matter I have chosen in my documentary is a great strengths as he can inform me and help me out with my product since he is so knowledgeable on it, he is also a creative individual and good at editing which should come in handy. As for a weakness I would probably say time management, but this shouldn’t be a problem since one of my strengths is time management, at least when it comes to gathering production material. As for my weaknesses I think sometimes I lack motivation and settling for an ok product when I know I could make a good product if I put in a bit more effort. Availability is mostly on Wednesdays, Thursdays and Fridays after college, which conveniently applies to me as well.
  21. 21. PROPS/COSTUME/CONSUMAB LES/ETC Since the subject matter I will be discussing in my documentary is heavily related to fashion, the costumes the cast and interviewees will be wearing will be of the same style/visual aesthetic of the fashion I will be talking about. As for consumables and props there wont be any intentional props included, there may be some in the background however.
  22. 22. TASK 3.1 Creative or Visual Planning
  23. 23. PRE-PRODUCTION: VISUAL PLANNING This section is concerned with the visual/creative planning of your production. This is WHAT you want to make You should use this section to develop what is it going to look/sound like and establish what the visual design is and the desired sequence. It is important that you ‘pre-visualise’ the project before you make it; it will make filming and production a more streamlined process. The following tasks should be part of your visual planning, including:  Pre-visualisation and concept boards  Storyboarding  Shot list  Flat plans  Colour plans
  24. 24. PRE- VISUALISATION/CONCEPT BOARDS Tool for exploring the direction and visuals Provides inspiration and information for the “look & feel” Presents key moments in your video A means to sketch/plan ideas Information on colour/lighting Defining the “mise-en-scene” Include as much here as you like, but keep it relevant to the production, the following slides have been left blank for you to approach in your own way, add more as you need to Extension suggestion: edit a short sequence of clips that have inspired or influenced your video [similar to this: http://io9.com/5941145/this-directors-video-pitch-for- hunger-games-might-be-better-than-the-real-movie]
  26. 26. CONCEPT BOARD DISCUSSION/EXPLANATION My concept board is an accumulation of certain images that accurately portray the visual aesthetic of my documentary and also some of the subjects I shall be discussing in my production work. For example, my concept board features images of certain underground artists that fit within the sub genre of music/fashion the documentary aims to educate on. One of the images in my concept board is a photograph of a Rick Owens shoe collection, Rick Owens is a famous fashion designer who's clothing is heavily involved and showcased throughout my chosen industry. Including all of these images in my concept board creates an early stages visual representation of what I hope my final product to look like, I shall use it as a reference to look back on whenever I need a visual reminder.
  27. 27. STRUCTURAL BREAKDOWN/PLANNING Breakdown your project into its basic sections and apply broad visual and creative ideas to each section. You can use this as the master template for your production, then add more shots/pages, etc to each section when you develop your full sequenced plan and planned outcomes. You should create a slide showing all the sections of the project, then add a slide for each section with timings, what happens visually and in terms of audio, page layout aim to have as much specific detail as possible. The structure of the project and method of doing this is dictated by the type of project.
  28. 28. INTRO The intro will be a compilation of clips and little snippets, it will act to inform the consumer of a general idea of what the documentary is about. The intro will feature multiple clips of the different styles I shall be discussing in the documentary and also certain music. I was also thinking I could potentially include a title card and implement a name for the podcast and maybe even an advertisement poster for it.
  29. 29. INFORMATIVE SECTION In the 'informative section' I will be discussing some fashion designers, showing some of their designs and just including general education on the designers themselves and their companies/brands. I will also apply this same formula to the music related portions of this section.
  30. 30. INTERVIEW SECTION The interview section is pretty self explanatory, I will be interviewing someone who is heavily involved within the underground music/fashion industry. I will be asking for their opinions on the industry as a whole and also asking for their input and advice for people who maybe want to get into the scene but don’t know how to. The interviewee himself is an artist who is very interested with fashion also so his input and answers are coming from an established within the industry point of view, which I think is an important aspect.
  31. 31. SHOT LIST - VIDEO Your shot list should contain the sequential breakdown of what you need to shoot for your video It should work in partnership with your storyboard It will be your working document when you film It should contain the shot number, scene number, shot description, framing and action you will see It should also have information on performers in the scene and other props, etc Shot list template is on Teams.
  32. 32. SHOT LIST Intro shots- In the intro I will include mostly shots that preview different upcoming parts of the documentary, for example, different shots from the interview section and informative section. Informative section- The informative section is meant to educate on the topic of the documentary, this being underground fashion and music, because of this the shot list for this section will just include lots of footage featuring different related pieces of clothing, music related footage like from shows and similar events. Interview section- In the interview section, the shot list is extremely simply, it will just include one shot of the interviewee, although I will apply some editing techniques and effects to make it more interesting.
  33. 33. STORYBOARDING - VIDEO Your storyboard should bring your idea to life Provide an idea of the sequencing of you video Provides a basis for production visually Remember, each frame should be as the camera frames it Suggested online storyboard creators are:  https://www.storyboardthat.com  http://www.pixton.com [very complicated]  http://www.storyjumper.com [allows you to insert your own images] Alternatively, hand draw or photograph your storyboard and scan or copy to insert it onto your slides There are lots of tips collected together on Blackboard!
  34. 34. STORYBOARD
  35. 35. AUDIO AND OTHER PLANNING Remember, video production is a multi-sensory medium, do not forget your audio planning, whether this is for spoken dialogue, VO/narration, sound effect or soundtrack. This needs detailed planning, linking to sequencing and sourcing/creating. In terms of audio I plan to implement a diverse selection of audio techniques. For example because the topic of discussion within my documentary is heavily focused on underground music, I will be inputting multiple tracks that fit within that genre, I think this will work well if I use it at the right times. For dialogue during the interview section I will use an audio Technica at2020 USB, the sound quality this microphone provides is of decent quality so I think it will work well, especially with some tweaks to make sure it sounds as good as possible.
  36. 36. TASK 3.2 Organisational Planning
  37. 37. ORGANISATIONAL PLANNING If the visual and creative planning is the WHAT of the production, organisational planning the WHO, WHAT, WHERE, WHEN and WHY of the production. This is the functional planning for the project, applying common sense and organisation to your creative ideas.
  38. 38. PRODUCTION GROUP INFO Include names, contact info, and defined roles at difference stages of production, using a table is suggested The entire production group will consist of me and Alfie Horwell, I will be handling the camera and gathering all of the footage I need, Alfie will be the one featuring in the clips, he is also the one who ill be interviewing, he is heavily involved within the industry which I will be discussing in the documentary so I think this will be a good decision. Contact info for Alfie is 07400 012040.
  39. 39. LOCATION INFORMATION Information and images of your location[s] for filming You should have address details, clearance/premissions for filming, recce photos and floorplans [including camera, equipment and cast/crew layouts] Where possible, have a plan B fallback location option Assess each location for any issues and suggest solutions
  40. 40. LOCATIONS Most of if not all of my footage used in my production will be shot in town, as for specific locations I plan to gather some clips at the minster, inside flannels and other clothing stores, I have chosen these clothing store locations as they showcase some of the subject matters I will be discussing in the documentary. As for the minster I have chosen to gather footage there as it conforms and accurately portrays the ‘Destroy Lonely’ aesthetic, this being church type establishments which have a certain visual aesthetic. There are a few potential issues with these locations, in terms of the clothing stores, some may not allow any filming inside the store, I'm sure if I ask nicely they will allow me however, if not I can also change the store in which I record to one that will allow me. If worse comes to worse and I cant find a single clothing store that will let me record inside I can just resort to gathering all of my footage outside. I don't think there are any potential issues with filming at the
  41. 41. RISK ASSESSMENT Risk Assess each separate filming location using the table in the camera H&S PP on Teams kit booking as a starting point. Completing a generic filming assessment would be a start, then you can add specialist/site specific risks as you progress your production Remember, a Risk Assessment is an ongoing document, you should evaluate if anything changes in production and when you put control measures in place You should add the table to each call sheet for each location
  42. 42. RISK ASSESSMENT I don’t think there are any serious risks involved when gathering my production footage in the locations I have assigned myself, the place is very public, open and a safe place, the only real risks I can identify is bad weather, rain could interfere with gathering footage or could damage some of the equipment I will be using.
  43. 43. CONTINGENCY PLANNING Things go wrong Your contingency plan is there to give you a backup or to minimise the effect on production You should consider the following areas: Technical, Location, Personnel and Organisational areas [about 5 potential issues for each] Use the form in pre-production folder on Blackboard
  44. 44. CONTINGENCY PLAN I have created an effective contingency plan in case anything goes wrong with my production work. For example, if I loose any footage or cannot gather the footage I need, I have created a folder in my personal OneDrive that contains footage from past projects that I can potentially use if it comes to that. I have also downloaded premiere pro onto my home computer so that if for some reason on a particular day I cannot make it into college I can work from home and make sure I don’t fall behind. In terms of location and personnel and location I have backups that I can use for production if there are any last minute changes of plan.
  45. 45. PRODUCTION SCHEDULE Your schedule should budget a total of 10 hours for production, that is for the filming and editing of your project. You should plan when you’re filming and how you intend to use the in class days on your timetable/class schedule
  46. 46. SCHEDULE I will be gathering all of the footage I will be using for my production after college days, this is because the bus me and my collaborator take home after college goes straight through town, meaning we can get off and start filming right away since town is the location I have decided to film at. Editing my production work however will almost fully be done inside college, I have specifically allocated certain time frames for each part of my production work, this is so that I can make sure to finish on time, I have decided to give myself 1 week to gather any footage for my work and 2 weeks for editing. Any time I still have left after this will be spent on perfecting and double checking my work.
  47. 47. CLEARANCE AND PERMISSIONS Any place you film and anyone you use in the filming of your video must have a completed form Blank forms are on Blackboard for you to complete and insert here