Risk Assessment

This is the Risk Assessment for the location that will be used on set. Usually, when making such documents, the risks are assessed and dated before going to the location, and are then re-assessed and dated when on set, just in case anything else needs to be added to the list.

Production

The production stage is now complete - photographs and more blogs on this to come soon!

Call Sheet for the shoot

Cinematography references

This is one referenced clip that has influenced the cinematography of the film 'Apportation'; the way the camera is held, the types of shots achieved, lighting etc...

Props

There are several props that will need to be acquired for filming, including a table and chairs. These however will not be easy to transport to the location, and will need to be either accessible near or in the filming location.

Other props include fake knives, prop pistols, a sack (pillow case), handcuffs and key, playing cards and a locket.

The weapons were difficult to acquire due to availability, but alternative possibilities included:

* Holster with plastic knife

* Retractable blade - fake knife

Due to the contacts that one of the actors had, we were also able to acquire several prop guns and a rubber knife. It was important to find the safest option possible, and to ensure that there was someone on set who was trained in using them and was able to instruct others.

For the locket, it was decided that it would need to be large enough to be noticed, but not too expensive for monetary reasons and the fact that the context would require the prop to be altered visually. This was the one that was brought:

* Ebay Locket

Teleportation Test 2

Second test of teleportation and exploding guard sequence using Adobe After Effects.

See here: https://www.youtube.com/watch?v=jw9nK_yr364&feature=youtu.be

The Completed Script

Apportation

By

Elliot Bell

Co-writen by Emily White and Vicky Charles

*WARNING* - CONTAINS DESCRIPTIONS OF VIOLENCE AND BLOOD. 

THIS POST WILL CONTAIN SPOILERS FOR THE FINISHED FILM.

SCENE 1. INT. WAREHOUSE. DAY.

Black screen. MUFFLED sounds echoing. GUARD 1 and GUARD 2 are sitting around a small table playing cards.

GUARD 1:

Do you think he knows?

GUARD 2:

Looks pretty out of it to me.

SAM CARPENTER walks in, wearing a black suit and a black fedora which hides her face.

SAM CARPENTER:

Never be fooled by appearances boys. He knows exactly what he’s doing.

The guards stop when they see Sam and stand up from their seats to face her.

SAM CARPENTER:

Anything to report?

GUARD 2:

No Boss. He hasn’t said anything; just sat there staring at the floor.

Sam places her hat on a spare chair and removes her jacket and hangs it on the back of the chair. Sam walks over to PAUL who is wearing a shirt and trousers, his shirt is slightly open, a open locket showing a image of a girl. The locket’s glass is shattered and has dried blood on it.

First person perspective. Flickering lights as a hood is removed to reveal PAUL CARPENTER handcuffed to a chair. His eyes strain in the light and he tries to focus. Sam looks indifferent and stands at a distance, gazing away rather than making eye contact with PAUL.

SAM CARPENTER:

I presume you know why you have been brought here, sweetie?

PAUL CARPENTER:

How about we stop wasting each others time?

Sam gestures for GUARD 1 to punch PAUL. As his fist meets his face the skin beneath cracks like porcelain, glowing fiercely before fading and returning to normal. GUARD 2 steps backwards and raises his gun.

GUARD 1

(whispers) What the hell?

Sam looks unmoved, almost amused.

SAM CARPENTER:

(shouting out to the world, melodramatically)

Ladies and Gentlemen I present to you: Paul Carpenter. The indestructible.

(to PAUL)

We could do this all day, or you could give me what I want?

PAUL glares at Sam, his eyes dark as his interrogator steps towards him menacingly and stoops to his level, face to face.

SAM CARPENTER:

Where is the weapon?

(pauses, and then says teasingly)

Go on, you know you want to tell me, go on... before I get bored. And we both know what that means.

(pauses)

Sam smiles knowingly at Paul over her shoulder as she turns and paces over to Guard 2. teasingly playing with guard 2’s tie when she pulls out small knife and stabs the guard in the lower back collapsing him to his hands and knees, then slowly pulls the knife back out.

GUARD 2:

(Whaling in pain)

SAM CARPENTER:

Oh dear. Such a shame that I knew

he was working for you.

Sam grabs the guard by his head and places the knife near his throat and pulls slowly letting the guard choke on his on blood. Guard 3 is waiting outside and comes in to check everything is OK.

GUARD 3:

Everything ok boss?

Sam throws the knife on to the floor.

SAM CARPENTER:

It’s fine!

Sam puts her hands in a praying position, tapping her fingers together.

SAM CARPENTER:

Oh how tiresome it is when one is kept waiting.

PAUL CARPENTER

I would have thought you’d learned that lesson by now.

Sam glares down at PAUL, her temper beginning to flare.

SAM CARPENTER:

(agitatedly)

Where is the weapon?

PAUL CARPENTER

(smiling)

Are you really sure you want to play this game?

Sam punches PAUL, his jaw cracking slightly upon contact as his face shatters and glows, and then returns to its usual complexion. PAUL smirks as he cracks his neck from side to side.

SAM CARPENTER:

You really do make things difficult don’t you?

GUARD 1 backs away slowly, the tension in the air rising as Sam pulls a gun out from the back of her trousers, pressing it between PAULS’ eyebrows.

SAM CARPENTER:

I suggest a different strategy... I ask you: ’where is she?’, and you say...

Sam grabs the locket from Paul’s neck as a tear begins to run down her face as if she is desperate to find the little girl. She cocks the gun and presses her finger to the trigger as PAUL lifts his hands from behind his back where they were once restrained. Sam immediately fires the gun, but in mid trigger PAUL teleports it to the back of Sam’s knee. The noise echoes around the warehouse, and Sam looks down in dismay at her bloodied kneecap.

SAM CARPENTER:

(breathless, slight high pitch noise)

PAUL CARPENTER:

(laughing)

Oh man! That looks like it hurts! Does it?

Sam falls to her supporting knee.

PAUL CARPENTER:

You seem stuck for words; here let me help you up.

Sam clutches her knee, trying to stem the bleeding as she staggers away slowly. PAUL gives her an apologetic look, and then approaches the injured woman. PAUL grabs Sam’s neck and teleports them both across the warehouse, slamming Sam into the wall, whose hands are now trying to pry PAUL’S away from her throat. Paul teleports to the chair and kicks it towards her and picks her up and slams her on the chair, then teleports to the knife on the floor and slams it in between her legs on the chair.

PAUL CARPENTER:

(whispers in her ear)

I’m saving you till last.

Guard 3 runs in and is confronted by PAUL. PAUL teleports the knife and throws it at GUARD 3, but as he does he teleports the knife towards him impaling him. Guard 3 begins to pry the knife from his body while Paul moves on to his next victim.

GUARD 1 is lifting his weapon. As he does PAUL teleports towards him, tripping GUARD 1 over and grabbing him by the scruff of the neck. PAUL pushes him straight to the ground, a glowing trail follows as the force builds with speed. GUARD 1 is teleported to the other side of the warehouse and comes sliding across the floor. PAUL teleports to his position, and, upon touching GUARD 1, teleports him inside of GUARD 3. Instantaneously GUARD 1 and GUARD 3 explodes into a bloody mess, smeared all over that corner of the warehouse.

Paul strolls up towards Sam uncontrollably warping and cracking.

END

Casting

A casting call was sent out via the website StarNow. Approximately 17 people applied for several roles, and, after the application time ended, the auditions were arranged and booked.

Messages were sent out to all applicants regarding the date, place and time to ensure that everyone was available. However, mostly due to the bad weather that raged across Britain at the time, several people dropped out and sent their apologies before the auditions took place.

Three people turned up to the auditions, and, although three out of seventeen was not quite the number hoped for, all interviews went well.

Each audition included:

• A general discussion of the applicants background
• Reasons for applying
• Explanation of the synopsis for the film
• Read through of the script
• Discussion of roles
• Screen test

After the auditions took place, the roles were given accordingly and messages were sent out via email to those who were successful, and further information was given concerning possible dates for filming.

Editing Test

The first attempt at creating a teleportation effect using Adobe After Effects. There will be several heavily layered sequences throughout the film, as the effect will not only be used to teleport objects, but people too.

You can watch it here: 
http://www.youtube.com/watch?v=03Ig-DWBTNI

Script

The script has now been completed! Written originally by Elliot Bell, and extended by Emily White and Vicky Charles.

Catering

'They say an army marches on its stomach, and if that's true for armies it's just as true for film sets' - https://www.mariasitaliankitchen.com/production-catering-los-angeles

Catering, and the general thought of food, although seemingly the last thought on one's mind when making a film, (getting caught up in all the equipment, locations, casting etc), is a crucial part of the film-making process. When on set, it is vital that the members of the crew take care of the cast and each other, both emotionally and physically.

'The tip here is to keep your people happy so that they enjoy working' - http://www.thesmalls.com/low-budget-film-financing-catering

It is good practise to ensure that everyone's needs are catered for. Dietry requirements, disabilities, allergies, so on and so forth. Whether or not money is available to cover the cost of food it is important to realise that there are many ways and means of providing ample enough for everyone.

As this project is about being as green and as environmentally friendly as possible, it was important to look into ways of conserving energy and preventing waste.

Fairtrade was an obvious option, as well as using local produce and making home made food.

These are the final catering arrangements for on set:

• All plates, cups and utensils are to be borrowed from the local GirlGuide unit.
• Food is to be stored in resuable containers - no clingfilm or foil to save waste.
• Food to be stored in cool boxes to save electricity.
• All food to be locally sourced and purchased from within a 5 mile radius.
• Large flasks for hot drinks.
• Any packaging used to be recycled.
• Left over food to be consumed later.
• All utensils to be washed up using environmentally friendly washing up liquid.

It is important to provide a healthy and balanced menu for all involved. This is what will be used on set:

Sunday

• Drinks: 
• Fair Trade/Organic Tea and Coffee
• Milk from local farm
• Fair Trade Sugar
• Chilled tap water with organic lemon slices

• Snacks:
• Home-made fruit cake
• Home-made Organic biscuits

Monday

• Drinks – As above plus fair trade Orange and Apple Juice in recyclable cartons

• Lunch
• A selection of wraps/sandwiches (bread from local baker) with locally sourced ham and cheese, plus MCS certified Tuna. 
• Coleslaw made with spring greens, carrots and onions all grown locally plus organic mayonnaise. 
• Tomatoes and cucumber 
• Locally sourced apples 
• Fair trade, organic bananas
• Home-made fresh cream sponge cake - made with free range eggs and sugar, plus organic flour and locally sourced butter 
• Home-made flap jacks made with organic oats

This menu has been put together by taking into account everyone's needs and the several effects that each decision will have on the environment in the long term.

Locations

Locations are vital when it comes to film-making as they help create the mood and atmosphere within a film. A 'location' or 'setting' is described as the context and environment in which a situation is set, and allows the viewer to visualize what is going on and also create a better relationship with the characters.

So far, we have come across several possible locations:

1) Disused Dairy Farm near Checkley
2) Birmingham Film Studios
            A storage/set building area underneath Birmingham Film studios.

3) Independant school in Walsall

This is the disused part of the school building which was once used as an assembly hall and other classrooms. Due to neglect over time, the room has come down, the floor come up and the windows shattered. Health and safety wise it is unstable and unsafe.

4) George W Hughes - Pen Makers - Birmingham

An old pen making factory in Birmingham, abandoned and disused. There are no websites to be found to ascertain permission for entering or filming. However, information about the location can be found here:

• http://adeadendstreet.blogspot.co.uk/2011/02/george-w-hughes-pen-makers-birmingham.html
• http://consideratetrespassing.blogspot.co.uk/2011/02/george-w-hughes-pen-makers-birmingham.html
• http://adeadendstreet.blogspot.co.uk/2011/02/george-w-hughes-pen-makers-birmingham.html

5) Walsall Evangelical Church - Old Territorial Army Base Hangar

For the film we envisioned a disused warehouse, dark to suit the atmosphere, as the entire film takes place in one room. All the above have some of the qualities we need, but the final location will be chosen through process of elimination.