Instituto Superior Técnico

Universidade de Lisboa

Engineering Project Management

1st Semester 2022/2023

Shooting the movie: Everyone talks

about fruit, in Portugal

Group 1:
87302, Ana Rita Apolinário
92679, Francisco Sousa Professor:
93139, Miguel Grácio Prof. Tânia Ramos
102404, Gonçalo Félix
104078, Karen Villarroel

13 Januaty 2023
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Contents
1 Introduction 1

2 The Project Team 2

3 Project Objective 3
3.1 Completion criterion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

4 Business Justification 4
4.1 Business need . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
4.2 Strategic context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
4.3 Expected Benefits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

5 Scope Statement 4

6 Stakeholders 7

7 Activity Planning 8

8 Time and Resources Planning 9

8.1 Milestones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
8.2 Gantt Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
8.3 Resource Maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

9 Risks 12
9.1 Risk Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
9.2 Risk Register . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
9.3 Risk Matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
9.4 Risk Response Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

10 Budget 15

References 17

A Annex 18
A.1 Project charter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
A.2 WBS and RACI matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
A.3 Gantt Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
A.4 Budget: task costs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
A.5 Risk Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

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List of Figures
1 Risk Matrix considered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
2 Project Risk Matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
3 WBS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
4 Raci Matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

List of Tables
1 Stakeholders analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
2 Project’s Work Breakdown Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
3 Project’s RACI Matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
4 Milestones table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
5 Time estimations with PERT method, in weeks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
6 Project team members allocation and hourly rates . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
7 Risk Register . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
8 Project’s Budget. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

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1 Introduction
This activity was developed to fulfil the requirements for approval in the Engineering Project Management
Course in 2022-2023, where the group would be able to apply the concepts learned during the classes in a practical
project, related to the planning period of it.
The idea for this project came from the fact that the group wanted to do a challenging project that could be
out of our comfort zone, to be able to learn new concepts and improve our skills. A reason why we chose to do the
activity about film production, which is something that interests part of our group. Its thematic concept came
when the group came across a piece of news related to an operation developed by the Portuguese Judicial Policy
named Exotic Fruit [4].
This operation had been underway for a few months and was aimed at the total dismantling of a criminal
network that had a strong presence in Portuguese territory and imported very significant quantities of drugs,
mainly cocaine, imported from Latin America and then distributed in Portugal and other European countries. In
February, in the operation ”Exotic Fruit I”, five men were arrested and seized a large amount of cocaine, which
had arrived in the country by air, disguised in a shipment of tropical fruit from a Latin American country, a fact
that gave the name to the operation.
Having been set up mainly in Greater Lisbon, the mega-operation ”Exotic Fruit III” was aimed at the appre-
hension of the head of the gang, Ruben Oliveira, known as ”Xuxas” and considered the biggest Portuguese drug
dealer. After the mastermind of the network was captured in June, the anti-drug trafficking unit went after his
accomplices.
After seeing this news, the group saw an opportunity of exploring a theme that was a hot topic in Portugal
to bring to the project a realistic approach, that could motivate the production of a film in the terms the group
defined: a partnership between the leader of the streaming services, Netflix, to work with RTP, a national TV
producer that has already collaborated with Netflix few times.
To perform the project with accurate numbers, tasks and roles, long research was carried out to approximate
this as closely as possible this project to a real one, yet, taking into consideration the limitations of the length of
the document and time to conclude the study. A motive that explains the reason why in some points the group
had to be brief, for instance, simplifying the project team just to the main positions.
Finally, since this project is developed illustrating a planning period, it approaches the definition of the project
team, the project objectives, its business justification, the scope statement, the stakeholders involved, the activity
planning, with the WBS and RACI matrix settled. Also, the project’s duration and resources planning, comprising
the milestones, the Gantt Chart and its resource maps. Plus, the risk planning were performed, explaining the risk
register, their matrix and response plan. Finally, taking into consideration the entire project planning, a budget
to produce the film and the Corporate Premiere event was disclosed.

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2 The Project Team

The film crew positions that will contribute to its creation are from RTP, apart from our customers. However,
the complete team is much bigger, since this project will need lower positions to actually perform many tasks, for
instance, RTP’s crew of make-up artists, hair stylists, set dressers, costume designers, carpenters, camera staff and
so on. Due to simplification purposes, the list below will only illustrate the central positions of the film production
and their relevance for its completion :

• Karen Villarroel (Project Manager)

The Project Manager, Karen Villarroel, will be in charge of developing a workflow that prioritizes behind and
in-front-of-the-camera activities, ensuring that customer requirements are met. Her role is very important
and complex, going from planning tasks such as supervising the organization of the shooting schedule to
monitoring and controlling its production, until the corporate premiere event, after which the closure will
happen. She is also expected to create a culture within the team during the project to ensure that teamwork
is maximized. This team culture can influence the team’s openness to new ideas and changes, contributing
positively to the film’s production.

• Michael Smith (Customer - Netflix)

Michael Smith from the Netflix office, our customer, symbolizes authority and respect without necessarily
referring to any specific film crew job or task. He will be consulted when approval is needed, related to
the raw material produced and the edited samples, to understand if he is satisfied with the film. After the
closing of the project, represented by the corporate premiere event, the customer will be responsible for the
film’s marketing and deciding when to make it available on the platform.

• Francisco de Sousa (Film Director)

The creative vision for our production is driven by the Film Director, Francisco de Sousa. He is not necessarily
the ultimate authority on this project, but he is responsible for creatively guiding it through the entire creative
process, which means he has a lot of influence over many other film crew positions, such as Beatriz Carvalho,
his assistant and others, for instance, the Casting, the Photography, the Technical, and the Art directors.

• Beatriz Carvalho (Film Director Assistant)

Beatriz Carvalho will perform the Film Director Assistant role, which involves assisting the director in
achieving his vision, scouting the best locations for shooting, running the set, ensuring that all other film
crew positions are operational on time, and dealing with the thousands of daily problems that arise on even
the smoothest of productions.

• Miguel Grácio (Producer)

The Producer is one of the most important roles on our film set. Miguel Grácio will be in charge of
securing funding, supporting the Project Manager, helping to initiate the project, and providing high-level
organizational guidelines, as well as performing some bureaucratic tasks such as obtaining permits for the
film, insurance or copyright approvals.

• Gonçalo Félix (Casting Director)

For obvious reasons, Gonçalo Félix’s job as Casting Director will be completed long before physical production
begins, and he will operate entirely outside the day-to-day film crew hierarchy. However, his presence as a
member of the above-the-line film crew demonstrates an important principle. Moreover, the film will rely on
his critical thinking about choosing the right casting for the project, which is why he must maintain constant
contact with the Film Director, Francisco de Sousa.

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• Luı́s Costa (Photography Director)

Luı́s Costa, the Director of Photography, will be in charge of capturing the images of the film in accordance
with the Film Director’s vision. That is, he is in charge of creating light, bending light, and capturing light
in order to achieve a desired look. He oversees the camera department.

• Felipe Soares (Technical Director)

The Technical Director, Felipe Soares, is in the highest position on the technical staff. He will be responsible
for operating, protecting, and maintaining the film’s technical assets, as well as managing, controlling, and
overseeing the various technical departments, which include set, lighting, costumes, props, sound, and effects.

• Rita Apolinário (Art Director)

The art department will be led by Rita Apolinário, the Art Director, who is assisted by Nicole Pereira. Her
collaboration with the film director and her department to create the overall look of the film, as well as its
finishing touches, after the raw material has been edited and approved. She will be in charge of both the
physical and CGI creation of all visual elements.

• Nicole Pereira (Art Director Assistant)

Nicole Pereira, the Art Director Assistant, is the production designer’s second-in-command, who will organize
and manage the rest of the art department film crew to get the job done, assisting Rita Apolinário.

• João Rodrigues (Event Manager)

Managing the effective delivery of the Corporate Premiere event, the Event Manager, João Rodrigues, will
work with other team members, for instance, the Producer and the Project Manager, as well as with the
outsourced suppliers, to set up beforehand and ensure the event is well managed and organized to receive
our customer’s guest and meet his expectations.

3 Project Objective
This project consists of producing and directing a fiction film called ”Everyone Talks About Fruit”, based
on a true-crime story of Xuxas, a recently arrested drug lord of Portugal. The project must follow the concept,
screenwriting, and scriptwriting delivered by Netflix and stay within the budget agreed upon between the customer
and RTP’s Entertainment Director. With this in mind, the team must manage pre-production, production, post-
production activities and, the Corporate Premiere event.

3.1 Completion criterion

The finished film must be ready for a private corporate premiere, where the customer and a Netflix board will
give approval for promotion and distribution.

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4 Business Justification
4.1 Business need
Netflix requested a film production in Portugal to be released on its platform in 2024. This film will be based
on a script written by Netflix, about the real-life story of the criminal Xuxas. Everyone talks about fruit. In
order to keep it the most accurate possible, they asked RTP to produce the film, since both have already worked
together in previous successful productions, for instance, the shows Gloria and Until Life Do Us Part.

4.2 Strategic context

Netflix is already the leader in the streaming market in Portugal, however, while 22% of its Portuguese sub-
scribers intend to cancel their services - due to its price and mainly to the lack of interesting content for them -
Amazon Prime is gaining market share very quickly in 2022, with its current estimated 500,000 subscriptions in
the country, among other platforms. To increase the number of subscribers in Portugal (estimated as 800,000, Q4
2022), as well as improving the productions from the European region, which in the preferences ranking is in the
second position - 24.6 % of worldwide preference to watch, of its total production - they have decided to release a
new film filmed in the country. Moreover, the customer has seen that productions based on real-life stories have
been highly successful, generating more subscribers, and discussion on social and other media, which also increases
its brand image, as happened with the show Monster: The Jeffrey Dahmer Story. A fact that reinforces Netflix’s
interest in releasing a true story-based film.

4.3 Expected Benefits

• On business positioning: Netflix aims to reinforce its leadership in the Portuguese ranking of streaming
platforms, enlarging its market share in comparison to its competitors by not only avoiding cancellations
but also increasing the number of subscribers in the country, releasing content that represents its people and
culture.

• On market share: retention of existing customers and boost in the number of new subscriptions in Portugal
and possibly in other Portuguese-speaker countries.

• On ROI: 20% of the initial investment - standard percentage for this type of co-production.

• Intangible benefits: escalate Netflix’s brand image in Portugal, having as a secondary effect the dissemi-
nation of the country’s history and culture.

5 Scope Statement
The validated scope statement is detailed below, however, in case of something unexpected happens it would
need future adaptations. Its supervision during the monitoring and controlling process will work to avoid any
changes from the initial planning.

Project Objectives:
Apart from the main objective of this project, illustrated before, there are also intermediate goals:

• Hiring, recruiting and casting

• Scouting locations and definition of sets

• Obtain filming permits

• Develop production design

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• Develop storyboards

• Define the production schedule

• Conclude Shootings

• Complete shot editing

• Complete sound design and mixing

• Complete color editing

• Complete visual and special effects treatment

• Organize and execute the Corporate Premiere event

Product Scope Definition: The project will include the production and directing of a fiction film based
on a real story, including the steps of pre-production, production, and post-production, to be detailed later in
the WBS. The project, however, will not include all the steps after the production of the film: marketing and
distribution, neither the screen nor scriptwriting.

Project Requirements
The project will have three phases: Pre-production (Hiring, recruiting cast and crew, scouting location and pro-
duction design, storyboards and shot lists and production schedules), Production (Shooting) and Post-Production
(Editing, Sound design and mixing, colour correlation and grading, and visual effects). The cast recruited must
fulfil completely the character concepts provided by Netflix, and the profiles must be approved before hiring. While
scouting for locations, these should include the specific places assigned with the scriptwriting (Alcantara shipping
docks and Olivais urban centre), an urban area that properly depicts life in Portuguese social neighbourhoods
while meeting the safety conditions for production, and finally a club that is an accurate depiction of Portuguese
nightlife.
The production design concepts of the time period, the plot location, and character actions and feelings
must also be approved by Netflix, along with director storyboards representing the different shots in the scenes
summarized in a short list (Storyboard and shot list for each scene in screenwriting). As soon as public recording
locations are approved by Netflix, permits from City Halls must be obtained.
The production schedule should be specified daily, establishing goals for the scene shootings, and making an
inventory of all materials and components needed. The process of obtaining approval from Netflix for the pre-
production work should be iterative, but all documents must be prepared by July 1st, 2023. The shootings must be
completely in accordance with the concepts approved by Netflix in the pre-production phase, and any impediments
or alterations must be immediately communicated to and discussed with Netflix. Production must be finished by
September 1st, 2023.
Post-production will make use of RTP’s existing technical resources, and samples of edited footage and mixed
sound must be frequently reviewed with Netflix. The finished film must be ready for a private corporate premiere,
where the Project Manager and RTP Entertainment Director will present the film to the customer and a Netflix
board, to obtain approval for distribution and close the project. The corporate premiere is predicted to happen
in the first week of March 2024.
Success will be measured by obtaining Netflix approval in every intermediate step of the final product and
evaluating qualitative satisfaction.

Project Boundaries: The film must meet the main requirements of our customer (Michael Smith), related
to time and scope. The project will take approximately one year to be concluded, with the pre-production taking
about four months, the production will take about three months, and the rest of the time (six months) will be all
focused on the post-production par. Time is essential for the customer since the real-life events that inspired the

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film happened in the summer of 2022 and therefore Netflix wants to be the first to produce a film about this story
and distribute it while the news of the happening is still fresh in the memory of the Portuguese people. The film
must be ready for the Corporate Premiere on the 1st of March 2024.

Project Deliverables:
List of intermediate and final products and deliverables:

• Cast profiles

• Cast final listing

• Shot’s location map

• Licences

• Production design concept

• Storyboards and shot lists

• Production Schedule (includes acquisitions, set preparation, figure preparation, cast characterization and
shooting schedule)

• Raw, unedited footage

• Editing samples

• Mix sound samples

• Colour-corrected samples

• Visual and special effects samples

• The final version of the film for the corporate premiere

Product Acceptance Criteria: The film will be accepted if it meets all requirements established by our
customer.

Project Constraints
Some internal and external constraints are listed, yet other risks will later be explored.

Internal conditions:

• Rules and guidelines of a Netflix production (which state requirements for brand management, scene execu-
tion, editing, and so on);

• Availability of members with technical functions from RTP (leading to possible external hiring);

• The responsibility definition between Netflix and RTP might not be clear enough;

• Delays in approval by Netflix.

External conditions:

• COVID-19 situation getting worse, affecting production;

• Weather conditions affecting outdoor shooting, leading to delays;

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• Difficulty in having the cooperation of citizens for shootings in crowded places;

• Police involvement in street blocking might not be enough;

• Delays in approval of licences by City Halls;

• Delays in delivery of production material.

Project Assumptions: Netflix is the most-used streaming platform in Portugal; The market study conducted
before this project was started concluded that European users seek more streaming content based on real stories,
especially when these are stories well-known in their own country. The study also concluded that the new film
would result in an increase of 5% in subscribers among Portuguese users.

Initial Project Organization: The members of the project team, its customer, as well as the stakeholders,
are identified. The organization of the project is also documented.

Schedule Milestones: The Project Manager (Karen Villarroel), together with the customer, identified the
milestones and placed imposed dates on those scheduled milestones. These dates could also be addressed as
schedule constraints, related to identified risks that will be explained further.

Fund Limitation: The fund limitation is €3.000.000.

Approval Requirements: Apart from the regular meetings between the customer and the Project Manager,
to be sure that Michael Smith’s and Netflix’s requirements are being met, the customer will have also to approve
unedited and edited footage before the closing of the pros-production period.

6 Stakeholders
In the following Table 1, the stakeholders, their roles, and their potential impact on the project are identified.

Table 1: Stakeholders analysis

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7 Activity Planning
In order to facilitate communication with the team, the entire project was broken into smaller components,
forming a Work Breakdown Structure that organizes the team’s work into manageable sections. Also, work
packages were created, ensuring that all Project deliverables were explicitly assigned to a task and were therefore
someone’s responsibility. The WBS is presented in Table 2 and a hierarchical diagram can be consulted in the
Annexes Section A.2.

Table 2: Project’s Work Breakdown Structure

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Moreover, to clarify who should perform the WBS tasks, attribute responsibilities and communicate who from
the team is involved in each of them, the following Responsibility Matrix (R-A-C-I) settled:

Table 3: Project’s RACI Matrix

8 Time and Resources Planning

8.1 Milestones
A milestone is an important event or achievement that marks the completion of a major step or phase in a
project. It indicates the completion of critical tasks, reaching a key deliverable, or achieving an important goal.
These events are usually planned in advance, and serve as a guide for tracking progress and measuring success.
With this in mind, it is now necessary to create the milestone table. The milestone table is designed to
help everyone involved with a project stay on track. It lists important milestones and the tasks that need to be
completed in order to reach them. This information can be helpful when planning and managing the project, as
everyone can see where they stand and what needs to be done next. It can also help identify potential delays or
issues, and make sure that the project stays on schedule. Additionally, it helps in measuring and reporting the
progress of the project and communicating this information to stakeholders and other interested parties. In the
table below, we can see this project’s milestones with some information associated with it.

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Table 4: Milestones table

We can see in table 4 that there are multiple times when we can see several responsible people per milestone,
this is because there are very different tasks that lead to the milestone, and it did not make sense to only have
one person responsible for it. It is visible that Francisco de Sousa is the name that appears the most, this is due
to him being the Film Director and, because of that, there is a high necessity of him being in charge of several
tasks which translates to being more influential and responsible for milestones.

8.2 Gantt Chart

For viewing purposes, the Project’s Gantt Chart can be consulted in the Annexes Section A.3. The first outline
of the project is composed of the Project Management Task, the Pre-production, Production, Post-production and
Corporate Premiere event preparation summary tasks, and also the Corporate premiere event milestone that marks
the end of the project. Our Project will have a duration of fifty-six weeks and two days exactly.
Inside Pre-production there are several summary tasks to organize the work packages by expertise area being
them Human-resources, Definition of sets, developing production design, Developing storyboards, Requiring RTP
Materials, Define Pre-production logistics, and the Pre-production wrap milestone. This milestone occurs in the
12th of July 2023, which is slightly past the date estimated for the Project Charter Signature. Nevertheless, ahead,
we will see that this will not represent a delay that might compromise the project execution.
The Production phase comprises the Rehearsals and Shootings work packages and also the Controlling and
Production Logistics summary tasks. Finally, the end of this phase is set by the Production Wrap milestone
occurring at the 5th of October 2023, respecting the three-month estimate for shootings.
The Post-Production phase is composed mostly of several work packages of the speciality and happens at the
same time as the Corporate Premiere Event is being prepared. These tasks have their work packages bonded by
the respective milestones Post-production wrap and Event logistics ready. Both of these are set for the 23rd of
February 2024, one week before the date set for the corporate premiere event.
This one-week gap is an example of many buffers that have been added to the project schedule for risk
management and will be explained later in this report.
For the initial time estimations, there were used several methods. For example, for the duration of the Cast
Auditions, the Casting Director gave his expert judgment. For technical tasks such as the Selection of technical
crews, Material requirements, and preparation, the Photography director used analogous experiences to advise on
the time needed.

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The PERT method was also used to estimate the duration of some longer critical tasks like Shooting and
Editing. The times estimated in weeks and the calculated duration, through equation 8.1 and 8.2 are presented
in Table 5.

to + 4tm + tp
te = (8.1)
6

tp − to 2
σ2 = ( ) (8.2)
6

Task to tm tp te σ2
Shootings 4 9 20 10 7.11
Editing 2 12 22 12 11.11

Table 5: Time estimations with PERT method, in weeks.

In the end, the Critical Path of this Project is defined by Start → 1.2.2.1 Location Scout → 1.2.2.2 Approval
of shot location map → 1.2.2.3 Obtain filming permits → 1.2.2.4 Review permits conditions → 1.2.6.4 Develop
shooting schedule → 1.2.6.6 Aquire Insurance → 1.3.1 Rehearsals → 1.3.2 Shootings → 1.4.1.1 Editing → 1.4.2
Sound design and mixing → 1.4.5 Copyrights approval → End.

8.3 Resource Maps

In regard to Resource Allocation, the first thing needed was understanding the availability of each team member
to comprise their allocation to the project, in order to distribute the task according to each one’s speciality and
avoid costly over-allocation. In Table 6 it is visible the team’s allocation rates and also their wages which will
have implications for the Project’s budget.

Table 6: Project team members allocation and hourly rates

In Table 6 it is visible that Karen Villarroel, the Project Manager, is only 40% allocated. This is because
she has other ongoing projects in RTP’s Entertainment department, mainly the seasonal soap opera and the
weekend program. Therefore, this was the allocation rate authorized by RTP’s superiors. She will occupy this
time in communicating with the stakeholders, controlling and monitoring the status of the projects, and solving
any occurring issues, therefore implementing any Risk response plans when needed.
Miguel Grácio, our Producer, is a very busy businessman, so he told us that even if he only performs small
tasks spread across the Project he can never spend more than half a day on it, resulting in the assigned 50%
allocation.
Gonçalo Félix and Francisco de Sousa are very experienced Directors of RTP, and the board agreed that they
should be 100% focused on this project for as long as needed. For this reason, Cast Auditions only start at 13rd
in February 2023, since it was only then the Casting Director who would finish his other pending projects. The
Film director’s assistance is only allocated 80% to the project because she needs time to manage other projects in
his agenda.

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As for the Photography and Technical Directors, they have other operational commitments. The same for
the Art Director and her Assistant, that in order to maintain operations in the Entertainment department had
to reserve some of their time. The Event Manager is also responsible for many other projects in RTP’s Public
Relations department.
Considering these constraints, there had to be created some discretionary dependencies between tasks that
otherwise had no mandatory precedence. For example, in the Pre-production phase, the Producer had to obtain
filming permits and also hire a security agency, yet these simple tasks exceeded the four daily hours that Miguel
Grácio could dedicate to the Project, so they had to be sequenced. Another example is during the event organi-
zation, the event Manager had to confirm the corporate premiere date with indispensable personnel, and also rent
the premiere venue, these tasks were initially supposed to occur at the same time but since looking for a venue
occupies the manager completely, these had again to be sequenced, and a priority created.

9 Risks
An inherent part of a project is Risk Planning, necessary to ensure that all tasks can be performed within
scope, time and resources, by providing appropriate responses to the known risks.
The first step in this matter is identifying the risks. Through a brainstorming session and some investigation,
it was possible to determine 17 risks that could jeopardize the project. Then, a categorization and response plan
and execution were defined to tackle the risks.

9.1 Risk Plan

To sum up all this information, the risk plan was developed, taking into account the causes, probability and
impact of each one of the challenges faced. With this information, an importance level was determined, considering
the matrix in figure 1, and the levels of risk in the same figure.

Figure 1: Risk Matrix considered

The probabilities were defined as follows:

• Very High: 75%-95%

• High: 50%-75%

• Moderate: 30%-50%

• Low: 10%-30%

• Very Low: 5%-10%

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On the other hand, the impacts were defined as follows:

• Very High: >50% Cost & >50% Time

• High: 20%-50% Cost & 20%-50% Time

• Moderate: 10%-20% Cost & 10%-20% Time

• Low: 5%-10% Cost & 5%-10% Time

• Very Low: <5% Cost & <5% Time

At the same time, measures to counter these factors were defined and divided into their category, depending
on whether they mitigated or transferred the risk or provided a contingency to its effects.
To monitor whether the risks were under control, monitoring indicators were developed to put into practice
throughout the project.
Finally, an execution plan was outlined, considering the monitoring time windows and the person responsible
to do so.
The decisions for each part of this plan are summarized in the table in figure ??, on annex A.5.

9.2 Risk Register

To have an easily accessible list and numeration of the risks, these were written down in a risk register as seen
in Table 7, as well their code and importance level.

Table 7: Risk Register

Risk
No. Importance level Description
Code
01 5 Severe Injuries of actors
02 4 Significant City Halls taking too much time approving licences and permits
03 3 Moderate Not achieving the guidelines of Netflix
04 3 Moderate Netflix representatives might take too long making approvals
05 3 Moderate Scheduling of working hours with actors being difficult
06 3 Moderate Equipment malfunctions
07 3 Moderate Delays in insurance approval
Difficulty in having all important participants present in the
08 3 Moderate
corporate premiere
09 2 Minor Difficulty in having internal HR for technical functions
10 2 Minor Lack of availability of material of RTP
11 2 Minor COVID-19 situation getting worse
12 2 Minor Weather conditions might be unfavourable for filming
13 2 Minor Lack of cooperation of citizens for shootings in crowded places
14 2 Minor Delays in delivery of film resources
15 2 Minor Delays in delivery of decoration materials for Corporate Premiere
16 2 Minor Delays in approval of copyrights
17 1 Negligible Lack of availability for renting Corporate Premiere venue

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9.3 Risk Matrix

A visual representation of the risk matrix can be found in Figure 2, where the risks are identified by their
number, as in Table 7.

Figure 2: Project Risk Matrix

9.4 Risk Response Plan

Taking into account the risk plan in section 9.1, there were some responses considered preventing the risks
inherent to the project. Indeed, there were some changes done to the Gantt Chart, in order to comply with the
guidelines defined:

• Risk 01: added 1 week in the task ”Cast final listing and contracts” to include reserve actors contracts; add
the task ”Hire medical crew”;

• Risk 02: added 1-week lag between ”Review permit conditions” and ”Develop Shooting Schedule”;

• Risk 07: added 2 weeks lag between ”Acquire Insurance” and ”Pre-production wrap up”;

• Risk 08: added task ”Confirm corporate premiere date with indispensable personnel” with 8 weeks lag to
”Send invites to participants”; added 7 weeks lag between ”Send invites to participants” and ”Contract
catering supplier”;

• Risk 12: added weather monitoring to the task ”Schedule, location and weather conditions monitoring”;

• Risk 13: added task ”Review permit conditions” with 1-week lag to ”Develop Shooting Schedule”;

• Risk 14: added 1-week lag between ”Acquire costume and related materials” and the milestone ”Logistics
ready”;

• Risk 15: added 1-week lag between ”Manufacture decoration components” and ”Install decorations for the
event”;

• Risk 16: added 8-week lag between ”Copyrights approval” and the milestone ”Post-Production wrap up”;

• Risk 17: added 12-week lag between ”Rent premiere space” and the milestone ”Event logistics ready”.

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There were also some indications left for further attention in performing each task that was not compatible
with the Gantt Chart, as they were already included in the respective work package or should not be added (e.g.
meetings):

• Risk 01: Include actor insurance;

• Risk 02: Send regular reminders to responsible entities and ask for feedback;

• Risk 05: Well-defined working hours;

• Risk 06: Regular inspections;

• Risk 07: Thorough investigation of the documents needed;

• Risk 08: Implement DGS’ rules in force;

There is a necessity to find a contingency reserve to manage the problems mentioned, according to the contin-
gency plans and probabilities of occurrence of each risk.
The risks that impose contingency plans are the injuries of actors, the Covid-19 situation getting worse, and
weather conditions being unfavorable for filming. The contingency plan arranged for unfavorable conditions for
filming imposes no costs associated.
Regarding the other two risks, it was estimated that injuries of actors with important roles might lead to
costs related to replacing the actors which go up to, 104 000€, and these have a probability of 60%. As for the
probability of the Covid-19 situation getting worse, it was estimated this may lead to costs that go up to, 1 900
000€, having considered the probability of such an event to be 10 %. The contingency reserve allocated regarding
these numbers is 252 400€, as calculated in 0.60 ∗ 104000 + 0.10 ∗ 190000.

10 Budget
The Budget estimate for this Project is presented in Table 8. The Cost Baseline of the project is the sum of
all the task costs, which include team member hourly rates, other whole costs, and also material costs. The Con-
tingency Reserve was obtained as expressed before in Risk Management, and the Management Reserve considers
a 10% allocation of the Cost Baseline.
The Human resources item includes the sum of the working hours of the team members which was calculated
based on their allocation through MSProject, which can be consulted on the Gantt Chart in Section A.3. Other
Human resources costs, external to the project team, were estimated by the contractual cost of the actors having
two leading roles with contracts of 15000€ per month and five supporting actors with contracts of 13500€ per
month. Plus 50 extras were accounted which will be paid per hour 21.25€. And also three stunt actors who have
contracts of 35360€.
The cost of the crews involved was also considered in this item. The set crew is comprised of 20 elements with
an hourly rate of 13.74€. The Characterization crew is comprised of 8 elements with an hourly rate of 12.29€.
The Transportation and Craft crew is comprised of 6 elements with an hourly rate of 11.57€. And finally, the
editing team is comprised of 12 elements with an hourly rate of 15.19€.
The Craft Services and Transportation costs were estimated per week based on analogous experiences and then
parametrically scaled for their duration. The permits have a unit cost of 400€ and will be needed for five different
locations.

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Table 8: Project’s Budget.

The following costs were allocated to the shootings task: The security agency charges a fee of 600€ per week.
The wardrobe was parametrically estimated as 80€ per actor (7) per week. The set decorations comprise 3500€
per set times 8 sets. The insurance fee is 130€ per week. The medical crew comprises a doctor and a nurse from a
private practice that gave the budget in 8 to be present in the set for 5 days (when the stunts will be performed).
The Copyrights request fee is 200€. The venue rental is 3500€ per day and will be booked for four days: two for
preparation, one for the event, and one for tidying up. The designer budgeted the layout concept in 1600€, plus
800€ to create the decoration materials and 3600€ for their team to install them over two days, totalizing 6000€.
The cost of the materials will be paid separately and is 400€. The catering for the event will be 80€ per person
and fifty guests are expected. And finally, the event security will cost 300€ for the night.
All these items plus the reserves totalize a Budget of 2 680 297€ which is well within the 3M€ cap agreed in
the Project Charter.

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References
[1] ”Exclusivo: operação da PJ desfaz rede de ”Xuxas”, o maior traficante português”, CNN Portugal (2022)
https://cnnportugal.iol.pt/xuxas/ruben-oliveira/exclusivo-operacao-da-pj-desfaz-rede-de-x
uxas-o-maior-traficante-portugues/20221025/6357d6b10cf2ea4f0a63198a
accessed on 10/12/2022

[2] ”Salário em Portugal 2023”, Talent (2023)

https://pt.talent.com/salary?job
accessed on 02/01/2023

[3] ”Risk Factors in Film Production”, Ukdiss (2021)

https://ukdiss.com/examples/risk-factors-in-film-production.php
accessed on 04/01/2023

[4] ”Film Budget Template: A Complete Guide, With Tutorials Templates”, Film Life Style (2023)
https://filmlifestyle.com/film-budget-template/
accessed on 04/01/2023

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A Annex
A.1 Project charter

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A.2 WBS and RACI matrix

Figure23
3: WBS
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Figure 4: Raci Matrix

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A.3 Gantt Chart

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A.4 Budget: task costs

Task Name Total Cost Task Name Total Cost

Shoo ng the movie: Everyone talks about fruit, in Portugal 2 179 411,48 € Develop shoo ng schedule 1 301,60 €
Project Management 22 368,32 € Hire medical crew 180,80 €
Pre-Produc on 70 923,94 € Acquire Insurance 1 791,60 €
Human Resources 5 468,76 € Logis cs ready 0,00 €
Cast Audi ons 3 470,40 € Pre-produc on wrap 0,00 €
Approval of cast profiles 260,28 € Produc on 1 901 257,84 €
Selec on of tecnhical-crews 696,96 € Rehearsals 115 413,20 €
Cast final lis ng and contracts 1 041,12 € Shoo ngs 1 727 044,00 €
Contracts signed 0,00 € Controlling 7 117,60 €
Defini on of sets 12 184,64 € Produc on Logis cs 51 683,04 €
Loca on Scout 2 222,08 € Produc on wrap 0,00 €
Approval of shot loca on map 277,76 € Post-Produc on 157 895,04 €
Obtain filming permits 2 361,60 € Shot-edi ng 95 299,80 €
Review permits condi ons 361,60 € Edi ng 91 966,68 €
Hire security agency 6 961,60 € Approval of edi ng samples 3 333,12 €
Sets and loca ons defined 0,00 € Sound design and mixing 30 655,56 €
Develop produc on design 6 508,00 € Color Edi ng 7 844,52 €
Time-period concept 3 904,80 € Visual and Speciall effects treatment 23 533,56 €
Plot loca ons 2 603,20 € Copyrights approval 561,60 €
Produc on design approved 0,00 € Post-Produc on wrap 0,00 €
Develop storyboards 5 531,80 € Corporate Premiere event prepara on 26 966,34 €
Create storyboards 5 206,40 € Confirm corporate premiere date with indispensable personel 192,88 €
Define shot lists 325,40 € Rent premiere space 14 964,40 €
Storyboards approved 0,00 € Contract decorator 241,10 €
Require RTP Materials 1 093,34 € Design layout and decora on 1 600,00 €
Require Camera Package 182,22 € Manufacture decora on components 1 200,00 €
Require Produc on Materials 911,12 € Install decora ons for event 3 600,00 €
RTP Materias reserved 0,00 € Require security services 492,88 €
Define pre-produc on logis cs 40 137,40 € Send invites to par cipants 192,88 €
Aquire costume and related materials 35 283,92 € Contract catering supplier 4 482,20 €
Set decora ons 1 123,92 € Event logis cs ready 0,00 €
Camera and material prepara on 455,56 € Corporate premiere event 0,00 €

A.5 Risk Analysis

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