Pre-production documentation

This is all the pre-production documentation completed by all of us as a group. We were set individual tasks to do.

After several ideas, we came up with this storyline as a group.

The Plot
The film goes through a 5-day sequence of the boy's gang crime behaviour gradually getting worse, through a child's perspective, including the breakdown of the relationship between him and his mother.
Starting with the first day, the boy grabs the items on the side and leaves the house, saying little to his mum. The sister quietly watches TV to blend into the background.
On the second day, the boy shuts his sister out from looking into his room and argues with his mum. Again, the sister sits there quietly then turns to her brother as he leaves the house slamming the door behind him.
Then on the third day, the son's door is closed, but when he comes downstairs there is a big argument between the mother and him. He storms out leaving his sister by the front door watching him walk away. The mother then tells the daughter to go to bed. When she does, she walks past the closed door again.
On the fourth day, an inspector visits the house. While the mother is talking to him, the sister tries to listen to what they are saying. After he leaves the mother and daughter catch eyes and go seperate ways.
On the last day, the sister and mother both sit on the sofa together occasionally catching each others eyes for support.

The film treatment was discussed as a group and typed up by director, Camilla Braine.

Shooting Schedule

This piece was discussed by Danah and Camilla, and written up by Camilla.

Script

The script was writted up by Camilla Braine.

Shot List
The shots were discussed as a group but drawn up by cameraman, Danah Hussain.

Location Recces

The location recce's were created by Camilla Braine and myself.

The Kitchen

Sources of light: Big front window. Spot lights on ceiling.

Sources of power: On the wall above the surface.

Permission: Mary
Best to film: When the family are out of the house. Depending on the scene we are shooting, either night-time or during the day.

Downstairs hallway

Sources of light: a lamp. We will need artificial lighting in this room as it lacks light.

Sources of power:
Permission: Mary

Best to film: When the family are out of the house. Depending on the scene we are shooting, either night-time or during the day.

Leon's bedroom

Sources of light: Spotlights in the ceiling and big window.
Sources of power: in the room or use the hallway

Permission: Mary
Best to film: When the family are out of the house. Depending on the scene we are shooting, either night-time or during the day.

Sources of light: a lamp, four spotlights

Sources of power: A double socket with a four socket extension lead. Two other double sockets.

Permission: Catherine Horton
Best to film: When the family are out of the house. During the day.

The living room

Sources of light: a lamp and spotlights

Sources of power: Plug sockets

Permission: Mary
Best to film: When the family are out of the house. Depending on the scene we are shooting, either night-time or during the day.

Upstairs hallway

Sources of light: a lamp. We will need artificial lighting in this room as it lacks light.
Sources of power: Permission: Mary
Best to film: When the family are out of the house. Depending on the scene we are shooting, either night-time or during the day.

Set Design

As Production Designer I made decisions on the set design.

Risk assessment

The risk assessment was done by Sam Cunningham. Before shooting, he visited the locations and made a note of all hazards in the rooms and made sure he prevented them. On set he will make sure all cast, crew and equipment are safe from being damaged.

The following; equipment list, props list, hair and make-up and costumes were decided by myself, the production designer.

Equipment list
Camera - Sony PD150, tripod, lighting (lamps), batteries (for camera), filters, diffusion gel, recording tape.

Props list

Costume list

Sketches of costume

Make-up and hair
Boy
The boy will not be wearing any make-up throughout the scenes apart from the one where he is beaten up.
The hair will be shaven to show masculinity.
Beaten up look - research
Face paint
o Flesh tones
o Reds
o Yellows
Fake blood.
Red
o Around the lips and eyes.
o Going through the eyebrow.
o Forehead.
Deep pink eye shadow around the edges.
Complexion is greyish/pale.
Using the deep pink rub it into all round the eye, from just underneath the eyebrow to the circles under the eye. Round the bridge of the nose and the edges of the pink softly blend blue and or purple for good bruising effect, making sure to smudge in well. If you can find a dark red that looks like old blood and can possibly bear to then dab a little into the inside of the nostrils (not all the way up of course, just in the opening). Have a pale complexion and pale-ish lips as well as no blush, look shocked and maybe put some blue and purple on your cheek bone with some pink for added effect.

http://answers.yahoo.com/question/index?qid=20091102091117AALzSUp

The make-up for the boy when he has been in a fight will be visible but not too major as we needed a clip of the boy beginning to get into trouble. He will try to hide that he has been beaten up as he embarrassed when he gets home and doesn’t wish to worry his family.

Girl
Mascara
Foundation
Powder
Blusher
We will give the girl natural make-up to create a sense of innocence as if she’s still young and vulnerable.
Hair is tied up in ponytail at the start but then on Day Four and Five it is left down and naturally wavey to show that she hasn’t cared about the way she looks.

Mother
Darker foundation
Dark circles around the bottom of the eyes. (Little bronzer under the eyes.)
Different shades of powder.
Light eyeliner on upper lids.
Uncombed hair.
The mother will have make-up around her eyes to create a worn out and tired look as if she has been up all night worried and waiting for her son to come home.
Mother’s hair isn’t seen as it is under the hood of her dressing gown.

Permission slips

It is a requirement that we have permission slips from people's houses we use, the actors involed and any music that we use.