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Production Workflow Document: Typed, Organised and Clearly Thought Through

All major projects must submit a draft Workflow Document prior to the shoot. Document is to briefly detail the flow of production from shooting to delivery. It must include rationale statements for each indicated field. The purpose of this document is to ensure you have a clear understanding of the needs of your project and that you make informed choices to meet the technical and creative requirements of your film.

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74 views

Production Workflow Document: Typed, Organised and Clearly Thought Through

All major projects must submit a draft Workflow Document prior to the shoot. Document is to briefly detail the flow of production from shooting to delivery. It must include rationale statements for each indicated field. The purpose of this document is to ensure you have a clear understanding of the needs of your project and that you make informed choices to meet the technical and creative requirements of your film.

Uploaded by

api-294454832
Copyright
© © All Rights Reserved
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
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Production Workflow

Document
All major projects must submit a draft Workflow Document prior to the
shoot. The other documents that must accompany this Workflow
Document are listed at the end of this document. This document is to
briefly detail the flow of production from shooting to delivery. The
document must include rationale statements for each indicated field,
briefly detailing the reason for the choice.
The purpose of this document is to ensure you have a clear understanding
of the needs of your project and that you make informed choices to meet
the technical and creative requirements of your film.
You should present this document as if it were a professional proposal. Do
NOT scrawl it with a pen. Present it as a PROFESSIONAL DOCUMENT:
typed, organised and clearly thought through.

PROJECT TITLE: Trove


DATE OF SUBMISSION: 25.5
DIRECTOR: Ed Christie

PRODUCER: Laura Jago

WRITER: Ed Christie
AGREED COPYRIGHT HOLDERS IN COMPLETED FILM:

BRIEF SYNOPSIS (MAX 3 LINES):

In a soggy wasteland, two figures turn against each other to find out whats
inside a mysterious box.

PROJECT DURATION (IN MINS): 7 minute film


SHOOTING RATIO: 16:9

FINISHING FORMAT: H264

TOTAL CASH BUDGET: $500

PRODUCTION DATES:
PRE PRODUCTION FROM: 13.4 TO: 28.4
PRODUCTION FROM: 29.4 TO: 1.5

POST PRODUCTION FROM: 1.5 TO: 24.5


DELIVERY: 25.5
SCREENED: 2.6
ON SET CREW:
Please name ALL crew (including any external collaborators for Tier 4
projects)
1ST AD: Laura Jago
DOP: Davis Fang
Sound Recordist: Crystal Khoupraseuth
Continuity: Dennis Fang
Other (Art Director, Prod Manager, Sound Designer, please specify):

Art Direction: Whole crew


Production Manager: Laura Jago
Sound Designer: Crystal Khoupraseuth
Boom Swinger: Dennis Fang/Crystal Khoupraseuth

CAST (Please list ALL cast):


1: Jack Robert - [email protected]
2: Mustafa Allawi - [email protected]
PRODUCTION MEETINGS:
Please list details of 3 arranged Pre-Production Meetings over page:
1. Resonance Meeting (3 weeks before the shoot)
2. Pre Production Meeting (2 weeks before the shoot)
3. Final Production Meeting (1 week before the shoot)
1. RESONANCE MEETING (3 weeks before shoot)
Documents to circulate draft workflow document, script, budget, draft schedule

DATE OF MEETING: 13.4


ATTENDEES (Writer, Director, Producer):
Laura, Ed, Crystal, Dennis and Davis

OUTCOMES (re script, directors vision, creative concerns, key production


elements):
Establishment of script and amendments made.
Key production elements - what camera and sound equipment to use
Casting call made
Prop list devised
Costume designed
Budget decided
Schedule devised

2. PRE PRODUCTION MEETING (2 weeks before shoot)


Documents to circulate - revised script, one-line schedule, props list
DATE OF MEETING: 20.4
ATTENDEES (Writer, Director, Producer, DOP, 1st AD, Art Dept, Prod Manager if
app):
Laura, Ed, Crystal, Davis and Dennis

OUTCOMES (re casting, locations, equipment, rehearsals, art dept, stills):


Overview of casting applicants
Shortlisted actors
Placed an order for equipment
Looked over stills and other aspects from Eds location visit
Decided on style of shoot/edit
Location locked in and gained permission
Final script achieved
REHEARSAL DATES: 27.4
DATE OF LOCATION RECCE (week before shoot): 29.4 - 1.5

3. FINAL PRODUCTION MEETING (week before shoot)

Documents to circulate final script, final schedule, shot list, call sheets, AD
report, continuity sheet, safety report if applicable.
DATE OF MEETING: 27.4
ATTENDEES (all crew):
Laura, Ed, Crystal

OUTCOMES (re shooting schedule, equipment, props/costumes, transport):


Shot list
Story board
Costume material gathered and still to be finalised
Morph masks purchased
Boots purchased and tshirts for safety
Equipment already at location
Transport arranged
Meal plans organised
Editing plan (software and schedule) devised

DETAIL:

Camera Type and Setup


Technical Supervisor
CAMERA

MOUNT

(type/model)

dolly, handheld,

P+S, lenses, macro,

steadicam, jib)

wideangle)

Steadicam, tripod

Canon 18-55mm

(tripod,

LENS

(Redrock,

Panasonic DSLR
GH4

and shoulder
Drone

mount

Canon 50mm
Samyang 10mm
Canon 24-105 IS
Canon 16-35 mkII

EXTRAS
etc)

(monitors,

Rationale: The advantage of the GH4 over alternatives including


the Canon 5D and Canon600D what are also available lies in its
resolution. With four times the resolution, it provides more
freedom to tweak each shot in post and also allows for a finer
precision for special effects. The tripods, shoulder mounts and
steadicams are the mounts that are available, and we are utilising
every lens we have ready access to.

Sound:
Technical Supervisor
MICS

RECORDING DEVICES
-

Rode

EXTRAS

Zoom H1n

Video mic

Broom

pole
- 3.5m

pro

Jack cables
Rationale: The equipment is readily available (owned by the crew)
as the TRC loan days do not work in conjuction with our shooting
days.

Lighting and Grip:


Technical Supervisor
LIGHTS

STANDS & GRIP

EXTRAS

(power, cables,

etc)

- Natural lighting

Reflectors

- LED lighting

Rationale: Our shoot requires a densly overcast sky, with only


natural lighting. It is also purely outdoors and there are many wide

shots, where artificial lighitng would be impossible.

Acquisition:
Post Production Supervisor: Edward Christie
SHOOT FORMAT
Digital

RESOLUTION

FRAME

CAPTURE

RATE

CODEC

25p

AVC-1 (Capture)

UHD

ProRes
422/DNxHD
UHD (Edit)
Rationale: We shot on digital on the Panasonic GH4 as

Post Production: Dennis Fang


Post Production Supervisor: Edward Christie
EDITING

SOUND
-

Premie

COLOUR
-

Logi

EFFECTS

-Da Vinci

re Pro
- After

c Pro
Resolve
- Final

dobe

Effects
- Final

Cut Pro

Effects

Cut Pro

-Creative

After

Cloud

Rationale: Final cut and Premiere Pro work together well with
XML. Final Cut will be used for its ease of use and rendering
efficiency, and Premiere syncs well with After Effects, which is
highly important for this effects heavy production.

Delivery:
Post Production Supervisor: Edward Christie
MASTER

(format)

DVD

(diff versions,

ONLINE/WEB

OTHER

content)

ProRes 422

H.264

Location List
No. of Days

Script Location

Actual Location

Soggy wasteland

Homely Estate Flat, grassy field

Any location-based safety issues


Snakes, spiders and other dangerous wildlife
Muddy and uneven ground
Any story-based safety issues
Stunts
Weapon - gem
Hole in ground
Any actor sensitive
Fighting
Murder

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