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Pre-Records ByNatasha Curry

&Shane Barr

Pre-Production/Portfolio of Evidence

NDY2 Creative Media ProductionUnit 23: Multi Camera Techniques

Tutor: Patsy MullanStudent: Natasha Curry & Shane Barr

Production Ideas

2.2. Develop programme ideas: programme format, such as studio production, live event; content ideas; visual style;Task 2.

(Present evidence of brain-storming and development of ideas for multi camera productions covering the following headings - studio

production or live event, production content ideas, and proposed visual style)

As we were not in charge of directing this production the ideas were out of our hands, we were given the opportunity to give our own input into the shots and to give our opinion on the best suited locations, however the rest of the idea’s planning was done by Liam Craig and Michael Poole.

Production StyleThis project comes under the production style of both studio production and live event. Our job was to film on location and edit the pre-records, this meant our product would be used to break up each scene during the live performance, the pre-records were necessary, as they allowed the live production to run without too many set changes and little to no costume changes.

Production Content IdeasAs this project was essentially a re-creation of a film, the ability to come up with new content ideas was minimal. The idea was to take a few of the outdoor and complex scenes from Inglorious Basterds and film them for insertion into the live production.

Proposed Visual StyleThe proposed visual style for this project was to mirror that of Tarantino’s style for Inglorious Basterds. The idea was to film the pre-records shot for shot, with the exception of the more complex shots that could not be achieved.

Pitch/Reasoning and Presentation Style

Inglorious Basterds Pre-Production Paperwork

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2.3. Presentation style; scripts, links and inserts; refining original ideas to final scriptTask 3.(Present a written statement describing the proposed productions style.

A copy of the script, information about any links or inserts to be used for the production and evidence to show how the original idea was

developed to script and refined before production)

Proposed Production StyleThe proposed style for this production is to mirror that of the original film. The pre-records will be projected during the live performance of Inglorious Basterds, they will be used a fillers during the play. The style of production is a new innovative way of telling a story using various art mediums such as moving image and theatre. During the live performance the audience will also be encouraged to take part in the café scene, by sitting around tables and drinking wine.

Pitch/Reasoning During a shoot that Shane and myself were on, Liam Craig and Michael Poole approached us and explained that we had been highly recommended for a job a specific project that they would like us to work on. We were asked if we would like to take on the pre-records for the Live Production of Inglorious Basterds. We were informed of how the pre-records would be used and they supplied us with a running script, this was drawn up to show the scenes that would be pre-recorded and those that would be performed live.

Running ScriptBelow is a copy of the running script we were provided when we agreed to take on the project:

Chapter ONEFrench, English

1. Landa and Lapadite (Exterior PRE) Interior LIVE2. Shoshanna Running Away PRE

Chapter TWOEnglish, German

1. The Basterds Intro (7 plus Aldo and Bear Jew) PRE2. Hitler – Nein Nein Nein + Other Hitler scenes PRE

3. Bear Jew Tunnel LIVE?4. Batter Up LIVE

5. Wicki LIVE (Carnegie Hall POV PRE)

Chapter THREE (A German Night in Paris)French, German, English


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1. Outside Cinema LIVE2. Cafe PRE - LIVE

3. Dinner with Goebbels and Landa LIVE4. Cinema Entrance Goebbels/Foyer PRE

5. Film explanation & Marcella PRE

Chapter FOUR (Operation Kino)English, German

1. A Study in German Cinema LIVE2. The village of Nadine/Pre-Tavern PRE

3. In the Tavern LIVE4. Aldo v wilhelm LIVE

5. Hammersmarks leg/Vet Scene PRE6. Landa in the tavern LIVE

Chapter FIVE (Revenge of the giant face)German, French, Italian

1. Lipstick & Film Making PRE2. Landa & the film crew LIVE

3. Shosanna projection room LIVE4. Strangle Hammersmark LIVE

5. Landa gets Aldo LIVE6. Back of the truck AUDIO

7. Interrogation LIVE8. Locking The Doors LIVE

9. Phone Call10. Zoller annoying LIVE

11. Giant Face/Jewish Vengeance PRE12. END/Aldo’s Masterpiece PRE

In total we were in charge of filming and editing 12 Pre-records for this project.

Inserts to be included in Production (Post-Production)During each of the shoots we were told not to worry about the sound quality of the scenes, this was because ADR and Foley was being done by the sound students and that this was to be dropped into each of the final edits.

Refining the Project before ProductionAs this project was re-creation of a film the refining process was different than it would have been had this project been and original directed by Shane and myself, therefore the refining process was outlining which of us would edit each of the scenes.

Before shooting began we decided to split the pre-records up in terms of editing, this was done so that production and post-production would run more smoothly. By breaking up the editing meant that which ever was being filmed on a certain day, the person in charge of the edit would be able to mentally work out which shots would go in which order during the shoot.

I was in charge of the editing of the following scenes:1. LaPadite + Landa Exterior2. Shoshanna Running Away


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3. Carnegie Hall4. Cinema Entrance/Foyer5. Film Explanation and Marcella 6. The Village of Nadine/Pre-Tavern7. Giant Face/Jewish Vengeance 8. End/Aldo’s Masterpiece

Shane was in charge of the following edits:1. The Basterds Intro2. Hitler Scenes 3. Café4. Hammersmarks Leg/Vet Scene5. Lipstick + Film Making

Shane was also in charge of editing together all the pre-records, to create our end product for evidence.

Planning Process

2.4. Planning processes: range of equipment required; allocation of job roles; conversion of word scripts to shot lists; design, eg lighting, set, sound; location recce; timing and sequencing; health and safety considerationsTask 4.(Provide a list of all the equipment needed for production.Each student is to provide an account of what their role in the production entailed, and show how the conversion of word scripts to shot lists was developed.Provide notes, drawing/sketches or plans of designs for the production, include details about all of the following headings;‘lighting, set, sound, graphics’.Provide a location recce using drawings, photos and notes for the TV studio and any other locations used.Describe how the timing and sequencing was used in production.Provide a health and safety check report).

Equipment required for ProductionThe equipment that we require to carry out production is as follows:

2x DSLR Cameras 2x Tripods Spare Batteries Memory Cards Tracks Editing Equipment

Job RolesAs this production only required 2 people from the media department the job roles were as follows:


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Natasha Curry – Camera operator + Editor Shane Barr – Camera Operator + Editor Liam Craig + Michael Poole – Directors (Performing Arts + Sound Tech)

DesignSetAs each of the pre-record are to be done on location the set for each will change depending on the location of the shoot.

LaPadite + Landa scene, location is set to be a small cottage in Donegal that is owned by Michael’s grandparents.

Shoshanna Running scene, Landa’s part will be filmed in the small shed that is attached to the cottage in Donegal. Shoshanna running through a field will be a separate location in Donegal.

Carnegie Hall + Aldo’s Masterpiece scenes, location is set to be in St.Columbs park, Derry.

Cinema Entrance/Foyer + Film Explanation & Marcella scenes, will be filmed in Buncranna cinema.

The Village of Nadine/Pre-Tavern scene will be filmed in Jack’s bar Derry. Giant Face/Jewish Vengeance + Filmmaking scenes will be filmed in a

stairwell of NWRC, Foyle Building. The Basterds Intro + Café scenes, will be filmed in Roe Valley, Limavady. Hitler scenes will be filmed in Foyle College. Hammersmarks Leg/Vet scene will be filmed in a barn, on a farm in

Donegal. Lipstick/ Shoshanna getting ready will be filmed in Bishops Gate hotel.

We will be using all of these locations as they are; this means no set design will be required.

LightingAs most of the scenes will be filmed in an exterior setting we will be using natural lighting for most of the pre-records. For any of the interior scenes, lighting within the location will be used along with lighting equipment that will be supplied from the Foyle theatre.

SoundDuring filming we have been informed that sound quality is not of any importance, the sound recorded by the cameras will only be used as groundwork for the ADR and Foley artists.

ADR and Foley will be carried out by the cast, ADR and Foley technicians, this will then be passed on to both Shane and myself to be dropped into the final edits of each of the pre-records.Health & Safety ReportsA health and safety report was carried out for each of the locations that were used during filming. The health and safety reports were carried out by Liam and Michael, however we also did a few health and safety reports of our own for a few of the locations, below is an example of one:


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Hammersmarks Leg/Vet Scene Health and Safety ReportThe location for this scene was the top floor of a barn, located on a farm in Donegal.

Upon arrival we could see that access to the top floor would not be easy, the only way to access the room in which we needed to film, was a straight ladder leading through a hole in the roof of the lower floor. In order to make it up safely, Shane had to climb up first so the equipment could be passed up, once the equipment had been transported safely to the top floor, I followed through the opening.

Once we had reached the top floor of the barn, we quickly realised that the barn had not been cleaned in a long time. The floor was covered in bird foul and there was a dead pigeon in the corner of the room that appeared to have been there for some time.

Despite the dirt and inconvenient way up to the top floor of the barn, filming was able to run smoothly. However we had to treed carefully and make sure that everyone remembered to stay clear of the large opening in the floor.

Overall I would say in my opinion this location was not the best choice for filming, however that being said we were able to achieve the outcome that we needed without any injury.

Pre-Tavern Health and Safety ReportThe location for this scene was an abandoned cottage in Omagh.

The cottage had no door and was filled with debris, the location did not look safe and looked as if the roof was ready to collapse. When we entered the cottage it was clear that lighting was going to be an issue and that it was going to be hard to maneuver around safely.

When filming began it was important to ensure that everyone was aware of the potential hazards around the cottage, including a deceased cat that was located in one of the rooms.

Overall in my opinion the location was not suitable to be filming in; there were too many health and safety risks, along with an abundance of hazards.

Pre-Production Paperwork

2.5. Production documentation: timed scripts; shot lists; studio floor plans; location plans; lighting plans; risk assessments; equipment


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checklist; camera scriptTask 5.(Present copies of all production documentation such as scripts; shot lists; studio floor plans; location plans; lighting plans; risk assessments; equipment checklist; camera script

Shot ListsIn order to successfully achieve the scenes shot for shot, Shane and myself were asked to watch the movie and devise shot lists for the scenes that we would be shooting.

LaPadite + Landa Scene ExteriorSHOT CAMERA SCENE

Wide Shot Stationary on tripod, off to side of house

(Exterior) LaPadite chopping wood outside

house.Low Angle Mid Shot Stationary on tripod,

below subjectLaPadite chopping wood, hears daughter call, stops

and drops axe.Mid Shot Stationary on tripod,

behind subjectLaPadite’s daughter

hanging washing, sees Nazi’s approach, calls

father.Wide Mid Shot Stationary on tripod, to

side of subjectLaPadite standing (only legs in shot), sits down,

tell daughter to fetch water, Julie runs to side

of house.Close Up Shot Stationary on tripod, in

front of subjectLaPadite takes out

handkerchief, sniffs it, wipes begin to wipe

sweat from face.Wide Mid Shot to Wide

ShotStationary on tripod, to

side of subjectLaPadite continues to

wipe face, Julie appears with water. LaPadite gets

up and walks toward house, Julie retreats back

to side of house.Mid Shot Stationary on tripod, to

side of subjectLaPadite walks up to

basin of water and goes into wash face.

Close Up Shot Stationary on tripod, in front of subject

LaPadite washes face and neck, looks up.

Extreme Wide Shot Stationary on tripod Filler shot of landscape.Wide Shot Stationary on tripod, to

side of subjectLaPadite standing

outside house, Landa walks up.

Mid Shot Stationary on tripod, to Landa introduces


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side of subject himself, offers hand to shake.

Extreme Close Up Shot Stationary on tripod, to side of subject

Handshake between Landa & LaPadite.

Mid Shot Stationary on tripod, to side of subject

Handshake finishes, LaPadite directs Landa into house, end scene.

Shoshanna Running AwaySHOT CAMERA SCENE

Close Up to Mid Shot Stationary on tripod, behind subject

Landa walks toward door of house, puts down brief

case, exits house.Close Up Shot Stationary on tripod, in

front of subjectLanda adjusts himself,

slowly raises gun.Extreme Wide Shot Stationary on tripod,

behind subjectShoshanna runs (away

from camera) screaming.Wide Shot Stationary on tripod, in

front of subjectShoshanna runs (toward

camera) screaming.Tracking Wide Shot Stationary on tripod, top

of tripod following action, side of subject

Shoshanna runs screaming.


Landa pointing gun, doesn’t shoot, makes

joke.Vertigo Zoom Out Stationary on tripod, in

front of subjectShoshanna runs (toward

camera) screamingClose Up Shot Stationary on tripod, in

front of subjectLanda Shouts after

Shoshanna.Extreme Wide Shot Stationary on tripod Filler shot of field.

The Village of Nadine/Pre TavernSHOT CAMERA SCENE

Wide Shot Stationary on tripod, in front of subject

Aldo, Lt. Archie Hiscox and Butz, looking out at

meeting spot.Close Up Shot Stationary on tripod, to

side of subjectAldo and Hiscox talking.

Close up Shot Stationary on tripod, to side of one subject, in

front of other

Hiscox and Butz talking. Something catches

Hiscox’s eye.Wide Shot Stationary on tripod, in

front of subjectStieglitz sharpening knife

on belt.Wide Shot Stationary on tripod, to

side of subjectHiscox gets up and walks out of frame, Butz takes

his place at window.Close Up Shot Stationary on tripod, in Stieglitz knife being


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front of subject sharpened on belt.Mid Shot Stationary on tripod, in

front of subjectHiscox walks up to door,

talks to Stieglitz.Low Angle Close Up Shot Stationary on tripod, in

front of subjectStieglitz replies to

Hiscox. Then Stares at him blankly.


Hiscox talking to Stieglitz. Hiscox walks

away.Wide Shot Stationary on tripod, to

side of subjectAldo and Butz looking

out window, Hiscox walks into frame, talks. Aldo turns, talks. Hiscox

stands.Close Up Shot Stationary on tripod, in

front of subjectHiscox stands into frame,

talks.High Angle Mid Shot Stationary on tripod, in

front of subjectBear Jew speaks.


Aldo speaks, Butz looks up at Hiscox.

Hammersmark’s Leg/Vet SceneSHOT CAMERA SCENE

High Angle Close Up Shot Hand Held, above subject Hammersmark screaming.

Close Up Shot Stationary on tripod, to side of subject

Aldo looking toward Hammersmark walks

toward camera.Extreme Close Up Shot Stationary on tripod, in

front of subjectAldo kicks box over

violently.Mid Shot Stationary on tripod, in

front of subjectAldo talking to Hammersmark

Wide Shot Stationary on tripod, to side of subject

Hammersmark lying on vet table.


Hammersmark lying on vet table, Bear Jew

leaning over her, Aldo’s legs in shot.

Mid Shot Stationary on tripod, in front of subject

Aldo talking to Hammersmark.


Bear Jew leaning over, Hammersmark

explaining something, Aldo’s legs in shot.


Hammersmark talking.


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Aldo puts finger into Hammersmark’s gun

shot wound.Dutch Angle Stationary on tripod, to

side of subjectAldo finger in gun shot wound, Hammersmark

leans to left in pain, talks.Close Up Shot Stationary on tripod, to

side of subjectHammersmark in pain

explains.Mid Shot Stationary on tripod, in

front of subjectAldo take finger out of wound, wipes it, turns,

walks away from camera and looks over shoulder,

talks.Over Shoulder Shot Stationary on tripod, in

front of subjectAldo throws tissue away,

talks.Close Up Shot Stationary on tripod, in

front of subjectAldo leaning against wall,

talking.Mid Shot Stationary on tripod, in

front of subjectHammersmark talking.

Over Shoulder Wide Shot Stationary on tripod, to side of subject

Bear Jew walks to get purse.


Aldo walks toward vet table, grabs tickets.

Over Shoulder Shot Stationary on tripod, in front of subject

Aldo looks at tickets.

Mid Shot Stationary on tripod, to side of subject

Hammersmark talking.


Aldo talking.

Wide Shot Stationary on tripod, in front of subject

Aldo throws tickets on table, walks away from camera, leans against

wall.Close Up into Extreme

Close Up ShotStationary on tripod, to

side of subjectHammersmark talking.


Bear Jew slams fist on table.


Aldo walks toward camera


Aldo walks over to table, picks up tickets, and

walks away.Wide Shot Stationary on tripod, to

side of subjectHammersmark lying on

table, sits up, talks.Wide Shot/Mid Shot Stationary on tripod, in

front of subjectHammersmark lying on table, Bear Jew to side,


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both look at Aldo.Close Up Shot Stationary on tripod, in

front of subjectOmar talking.

StoryboardsIn order to make filming run more smoothly we decided to go through the original film scene by scene and devise storyboards for each of the scenes that we were going to be filming as pre-records, these were used along side the shot lists to give us a more comprehensive knowledge of what we needed to achieve the overall desired look.

Below is an example of the storyboard that I devised for the Shoshanna running away scene.

Risk Assessment For each shoot on location a risk assessment was carried out. This was done to ensure the safety of the cast, crew and equipment.


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Below is an example of the risk assessment that I carried out for the Hammersmark’s Leg/Vet Scene.

Hammersmark’s Leg/Vet Scene Risk Assessment

Hazard

Persons Who

May Be Harme

d

Property/Equipment Which May Be

Damaged

Risk Controls

Already in Place

Risk Assessment

LOW, MODERATE,

HIGH

Further Action Required To Control Risk

Only access to top floor of

barn is a ladder

Cast and Crew Cameras and Tripods

Ensure the cast and crew are carefully

during ascent and

decent

MODERATE

Have a member of the cast or

crew at the top and bottom to ensure help in

both ascent and descent.

Sharp objects around top

floor of barn


Filming in areas

which have no sharp objects

MODERATE

Ask owner of barn to move

objects to corner of room

Large opening in

floor of barn


Ensure filming

takes place away from opening in

floor

HIGH

Ensure all cast and crew

members tread carefully and watch were

they are walking

The Risk Assessment above highlights all of the main hazards that were visible within the filming location. One thing that I did not include in this risk assessment was the presence of bird foul and a deceased seagull, these things posed a threat to the health of both the cast and the crew, however thankfully no one became ill or was harmed during the filming of this scene.

Individual Responsibilities and Experiences

3 Be able to perform an operational role in a multi-camera production


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Company Name: NWRC Productions + 5 Dollar Shake ProductionsProduction Title: Inglorious Basterds Production Dates: April 1st to May 24thCamera Operators: Natasha Curry + Shane Barr

Directors: Liam Craig + Michael Poole



3.1. Perform a practical role: eg cameras, sound mixing desk, vision mixer, direction, lighting desk, talk-back, video playback, floor management, graphics generation; communicate effectivelyTask 6.(Provide a written report about your individual responsibilities and experiences in this project).

Individual Responsibilities For this project my individual responsibilities were to work along side Shane Barr as camera operators. I was also tasked with carrying out research by watching the film and figuring out the various shots that would be required for each scene we would be shooting. I was also responsible for editing 8 out of the 13 pre-records and working on the pre-production paperwork.

Experiences Throughout this project I have experienced what it is like to work in a film production setting and now have experience in what it is like to work as part of a multi camera production team. This project has given me the opportunity to improve my filming and editing skills and I feel that I can now work to a more professional standard.

Communications with TeamTask 8.Provide an account of how you communicated effectively with team members, crew and personnel.

Throughout the process of filming the pre-records for Inglorious Basterds we communicated with Liam and Michael through Facebook messenger and e-mail.

Below are examples of some of the messages that were sent during production.


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The screenshots of emails are from before production began; this is when we had just agreed to take on the project. The screenshots of Facebook messages are during production, this was how we communicated about each shoot and what scenes were going to be shot on which days.

Overall Evaluation of Project

My overall thoughts on this project are that it was an amazing and educational experience. I feel this project helped me to understand what it would be like to work on a film production, how to deal with actors and the importance of communication between various different departments.

I thoroughly enjoyed working on this project with Liam and Michael from the performing arts department, as well as having the opportunity to work along side Shane Barr from my class.

The only thing I would have changed about the project would have been the time keeping skills on Liam and Michaels side of things, I feel that we were constantly an hour behind schedule for each shoot, however despite this I think we managed to achieve the desired outcome in record time.


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Having seen the live performance on Thursday 26th May, I feel that pre-records worked well within the overall production and the cast done a phenomenal job during the live production. It was great to see our names come up on screen during the end credits and know that the people in the audience had enjoyed to quality and appreciated the effort put into each of the pre-recorded scenes.

Overall I enjoyed my experience and feel that I have gained a great life experience, as well as new friends and I would gladly work with the guys from performing arts, sound technology and interactive media again.


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