Planning and Pre-Production

Unit 6: Visual Production

Contents

o Production Schedule
o Script / Shooting Script
o Storyboard
o Props List
o Crew List
o Location Recces
o Clearances and Confirmations
o Contingency Plan
Production Schedule
Please include location, time of film, what you are filming and team members
including actors

Date:
Monday Tuesday Wednes Thursday Friday Saturday Sunday
NULL NULL NULL

Date:
Monday Tuesday Wednes Thursday Friday Saturday Sunday
Deadline NULL NULL NULL NULL
planning
Storyboards Film
scene 1 &
2 (Harvey,
David
and I) (Ti
on the
mic)
Get Actor Film
conformation scene 3
(Harvey,
David
and I) (Ti
on the
mic)

Date:
Monday Tuesday Wednes Thursday Friday Saturday Sunday
Film Edit / Continue NULL NULL NULL
contingency continue with
shots if editing
shooting scene 3
 didn’t go editing then
too well scene 1 render +
upload
BEGIN Edit DEADLINE
EDITING Scene 2
Edit
scene 3

Script
In order to complete this correctly, you need to add stage directions for your actors

EXT. DREAM – DAY

THE CAMERA cuts to a shot of ANTON (A rather well-dressed

gentleman – in lighter colours) standing in a field, the wind
blowing through the grass. He’s staring at the sky with a
confused expression. It’s at this point that THE CAMERA cuts
to show KONSTANTIN (Another well-dressed gentleman – wearing
darker clothes) standing a way away from ANTON, menacing
stature in tow. THE CAMERA’s focus changes to KONSTANTIN, who
stares at ANTON with an unreadable expression.
 KONSTANTIN
Wonderful view, isn’t it?

ANTON quickly turns to look at KONSTANTIN, pretty much

flinching at the sound of his voice. The world seems much
quieter now; no longer is the sound of wind audible, now a
poignant silence rings over everything, even the sound of
KONSTANTIN’s footsteps as he saunters closer to ANTON’s still
frozen body.

KONSTANTIN
What? No greeting for little old me?

THE CAMERA cuts to show ANTON’s hands shaking in what can only
be fear.

KONSTANTIN
Well, that’s a shame, isn’t it?

ANTON is still paralyzed, and can do nothing to help himself

out of the situation. KONSTANTIN slowly reaches his hand and
puts it on ANTON’s shoulder as he slowly squeezes down hard.
The silence is deafening now, as heard by the white noise
dominating all audio. ANTON still can’t move, but you can see
how much he wants to in his eyes.

EXT. FIELD – DAY

ANTON awakens in the same field from his dream, although now
he’s lying down, sprawled out across the grass. He moves his
arm to get up but immediately lurches forward in pain, sending
his other arm to hold onto his shoulder. He seethes loudly,
moving his coat out of the way to reveal that his shirt is
covered in a partial amount of blood coming from his shoulder
– the same shoulder that Konstantin had gripped at, mind you.
 ANTON
(Under-breath)
Shit…

He finally gets up, with some mild effort, as THE CAMERA cuts
to an extreme wide shot of ANTON standing up in the field, the
title silently pops up in the sky. “Servo Della Morte” – which
(according to Google Translate) means Death’s (the female
version) Servant. THE CAMERA cuts to a trucking shot as ANTON
walks centre frame, in the same direction as the camera. He’s
still walking as he reaches into his coat, revealing A GUN.
Checking how much ammunition he has, he pinches his nose,
putting THE GUN back from where it came.

ANTON
Didn’t even fire one…

He looks tired, I mean; who wouldn’t after being shot? He

definitely is, as he carries himself as though he’s barely
conscious and close to passing out. ANTON puts his arm on his
shoulder, seething a little as he does. He looks back at where
he was once lying and snickers in an obviously un-friendly
way, like a snake hissing at its prey.

It’s at this point that the writer realises that their comedy
script isn’t funny. ANTON passes a PIE SALESMAN (A guy who
sells pies).

ANTON
Sir, please help. I’m bleeding bad.

PIE SALESMAN
Well, sir – you happen to be in luck; as I am a pie salesman.

ANTON
 No, I genuinely need help. Please.

PIE SALESMAN
I can sell you pies…

ANTON
Call an ambulance!

PIE SALESMAN
I have many wares; including pies.

ANTON
Please…

PIE SALESMAN
I have many wares; including pies.

ANTON waves the PIE SALESMAN away, continuing to hobble along

as THE CAMERA cuts to a wide shot of the same field, extremely
far away. The two figures are barely silhouettes in the
distance, the PIE SALESMAN gestates wildly at ANTON, who
simply limps further to the left hand-side of the screen,
blanking him completely. PIE SALESMAN follows. The one-sided
discussion they are partaking in cannot be heard from the
distance that the audience sits. THE CAMERA slowly fades to
black.

EXT.GRAVEYARD – DAY

THE CAMERA cuts back in with a neat little guitar chord or

something along those lines. We watch PIE SALESMAN and ANTON
come into focus while walking.
 PIE SALESMAN
You see; these pies aren’t going to eat themselves!

We watch as PIE SALESMAN reaches into his bag,

pulling out an assortment of pies.

PIE SALESMAN
Right, well we’ve got Pukka, Mince, uh, Gravy, Man-made
horrors, Cheese and Onion, Chicken – basically, we’ve got a
lot to choose from. So, you going to buy any of these pies?

ANTON quickly swivels around and slaps the assortment out of

PIE SALESMAN’s hands, who, in turn, looks incredibly offended.

PIE SALESMAN
Hey now! You’re going to pay for that!

PIE SALESMAN then pulls out a flip book and a pen, jotting
down different notes that are unreadable.

PIE SALESMAN
(Still jotting down notes)
Right… Let’s see; thirty-seven times by twelve, multiplied by
itself several times, carry the six…

ANTON watches as the PIE SALESMAN makes a jagged line

underneath one particular note.

PIE SALESMAN
Ah-ha! That’ll be £2,402 – minus VAT.
THE CAMERA zooms into ANTON’s eyes at an alarming
speed, as his face changes from a slightly annoyed
grimace to confused shock.

ANTON
You what? How come it’s that expensive?

PIE SALESMAN
Hey! Gravy isn’t cheap, you know!

ANTON
You-

ANTON bawls his fists into his hair as he lets out an annoyed,
self-contained scream. If put to paper, it would sound roughly
like:
ANTON
(Bawling fists in hair)
MYMMMMMNNNNNNNMB!

THE CAMERA cuts abruptly to KONSTANTIN’s eyes. They still

appear rather dead and empty. He’s watching the back and forth
intently. The bickering can still be heard as he speaks to
himself quietly.

KONSTANTIN
Hm? It appears this foul beast has latched onto my prey.

It’s at this rather surreal line that KONSTANTIN steps out of

hiding, weapon drawn and pointing directly at ANTON.

KONSTANTIN
We meet again, my dear Anton.
Both ANTON and the PIE SALESMAN are still arguing
about the price of gravy, neither of the two
noticing KONSTANTIN.

ANTON
That doesn’t even make sense! There’s no such thing as a gravy
mine!

PIE SALESMAN
No! I swear on my life there is!

ANTON
Want to bet then?

It’s at this that ANTON pulls out his gun and points it at the
PIE SALESMAN.

PIE SALESMAN
(Pointing an annoyed finger towards the gun)
Oh, don’t you dare.

THE CAMERA pans over to KONSTANTIN, who is still pointing his

weapon at ANTON. He let’s out a sigh of frustration.

KONSTANTIN
Excuse me! Over here!

Both ANTON and the PIE SALESMAN stop arguing and turn to face
KONSTANTIN.

KONSTANTIN
Right. Now that I have your attention; do either of you have
any last words?
 PIE SALESMAN
What have I done wrong?

KONSTANTIN
You are a leach upon this Earth’s crusted sheet.

ANTON quickly moves his gun to face towards KONSTANTIN.

ANTON
Now we’re at an in pass, if you shoot, I shoot – neither of us
can win.

The PIE SALESMAN watches awkwardly as the two other men stare
at each other with malicious intent. THE CAMERA cuts between
the two duellers’ eyes, getting closer and closer with every
shot. There’s suddenly a loud bang and THE CAMERA zooms into
KONSTANTIN’s eyes as they are filled with surprised pain.

KONSTANTIN
What? Is my life over? Just like that, eh? I thought it’d be
longer than this.

KONSTANTIN stumbles forwards, landing face first in the floor,

where he remains, his breathing slowing to a non-existent
pace.

ANTON
I fired one.

PIE SALESMAN
I hope this didn’t distract you from the real matter at hand.
You still owe me big time.
ANTON moves his gun, placing right in-between the
PIE SALESMAN’s eyes. He looks at it, unimpressed.

PIE SALESMAN
Really?

A loud bang is heard as the screen cuts to black and the

credits roll.

Storyboards:
Props List

Item Item Description Who uses it When it is used

Gun A handgun – doesn’t Anton During scene 2

matter which kind, a and 3
revolver would be
preferred though.
Gun again A handgun – doesn’t Konstantin During scene 3
matter which kind,
different from Anton’s
would be best.
Backpack A rucksack used to hole Pie Salesman During scene 2
different pies. and 3

An assortment Loads of pies – the small Pie Salesman During scene 3

of pies ones like Pukka and pork

Pie sign A sign to show that pies Pie Salesman During scene 2
are for sale: should say
buy pies.
Crew List

Person Role Dates Needed

Harvey Smith Anton 17/03/22 (possible
20/03/22)

David Didziulis Konstantin 17/03/22 (possible

20/03/22)

Oscar McRobbie Pie Salesman The whole thing

Director
Cinematographer
Editor
Tiberius Simon Boom-boy 17/03/22 (possible
20/03/22)
Location Recce
Please produce a location recce for EVERY location used

Type of room/area:
Field

Location Address:
Thames Path: Henley

Sat Nav details (Post code):

RG9 4HD

Nearest Train Station:

Henley-on-Thames train
station

Nearest Bus stop:

Rail Station (oxfajpdg)

Site contact name and contact Availability

Thames Path (Contact unknown) 24/7

Permissions

Public place.

Suitability / shots for production (scene numbers)

Two scenes will be shot in this area; roughly 24 shots included from storyboard, possibilities of
more though.

Lighting Information: Solutions:

No light sources besides natural lights, not a
problem as I shall be filming during the day.
Problems may occur if it’s just rainy that day.
Sound Information:
Public place means that people might be
around there. Also, possibilities of heavy wind.
Power Information
Outside – no power.
Hazards
Don’t film if it’s too dark. A little dark is fine.
Solutions:
Avoid people and block out wind from
microphone by standing in the way of wind.
Solutions:
Charge camera battery ahead of time.
Solutions:
The river – very wet, could damage equipment. Stay well away from the river whilst shooting,
Also, chance of dog walkers. also keep distance away from dogs.

Type of room/area:
Graveyard

Location Address:
16 Church St, Henley-on-Thames

Sat Nav details (Post code):

RG9 1SE

Nearest Train Station:

Henley-on-Thames train
station

Nearest Bus stop:

Albert Road (oxfgjpmd)

Site contact name and contact Availability

Holy Trinity Church: 01491574822 Actual graveyard is open 24/7

Permissions

Public place, but a lot of houses; too much noise may result in complaints.

Suitability / shots for production (scene numbers)

One scene will be shot at this local; consisting of roughly 33 shots. Most likely to add more later.

Lighting Information: Solutions:

Outdoors, no lights; filming during day so that’s Film at day and bring lights.
covered – however, may need to add lighting
for added effect.
Sound Information: Solutions:
Outdoors, next to primary school, next to some Film during lesson time, use microphone with
houses. dead cat for help with wind, try and stay quiet.
Power Information: Solutions:
Outdoors; no power. Charge equipment ahead of time.
Hazards: Solutions:
Many graves; could be seen as a tripping hazard Don’t stand on the graves and watch your feet
– is also disrespectful to stand on them. when moving.
Clearances and Confirmations
Contingency Plan
What are your plans for if something goes wrong? What back up actors,
locations and equipment do you have?

Contingency plan: if any problem should arise, then back-up actors shall be
utilised, I do have one who could easily take over if he is needed – though
that would have to push filming out of lesson time, sadly. But it must be done
if something goes wrong. If equipment does not turn up, then just go full year
9 drama performance and mime everything (props), however, if the camera
doesn’t work then that’s very bad; if this should arise then bring back up
camera, ask other actors if this is necessary, and if they cannot supply
camera, then use phone and heavy editing to look better. All locations are
public places; but I suppose the field could be used for the entire production
if the church for some reason gets closed, as I doubt the field will be closed.
Other places include wooded areas or places which are likely to not contain
people.