Film Proposal
Gerry Kanter
gkanter2@hotmail.com
613 730-3072
PROJECT PLAN
PROPOSAL
SHORT FILM PROJECT
“CARMA”
Gerry Kanter, Filmaker
OTTAWA, ONTARIO
Author Gerry Kanter
MARCH 1 2006
SYNOPSIS:
A narrative story and a series of character monologues are intertwined to
explore the question and the meaning of Karma
Film Proposal
Gerry Kanter
gkanter2@hotmail.com
613 730-3072
SHORT FILM PROJECT “CARMA”
TABLE OF CONTENTS
Introduction…………………………………………
3
Project at a Glance……………………………………
4
Story Summary…………………………………………
5
Project Summary………………………………………
6
1.1 Objective……………………………………..
1.2 Format and Length…………………………..
6
1.3 Equipment…………………………………….
6
1.4 Labour………………………………………….
6
1.5 Locations and Sets……………………………
6
1.6 Project Management………………………….
6
1.7 Financing……………………………………….
7
1.8 Marketing……………………………………….
7
1.9 Distribution……………………………………..
7
1.10 Reimbursement………………………………
7
Budget Summary………………………………………….
8
Schedule and Milestones ….……………. …………….
9
Cast & Crew Assignments….……………………………
10
Procedures ………………………………………….
13
Appendix I– cost estimates table
12, 13
Appendix II – Revenue sources
14
Appendix III– General procedures
15
Appendix IV– Checklist
16
Appendix IV– Contingency
17
Appendix IV– Cast selection
18-19
Film Proposal
Gerry Kanter
gkanter2@hotmail.com
613 730-3072
INTRODUCTION
DIRECTOR’S STATEMENT
I have worked hard to get things done right! I have secured locations, done cast selections,
and researched financing; in short I believe I’m on track to creating something that can be broadcasted
without licensing issues propping up. I’m doing all the work up front to guarantee I stay within schedule
and budget. This process has consumed a lot of my time for the last few months, but I think is worth it
because of my belief in the story and the project, but it doesn’t mean I’m incapable of improvising and
making a compelling story come out.
I have been involved in various film, and television projects, and I am offsetting the risk of
unplanned events and inexperience by using a group of very qualified cast and crew. My DOP has
several films made, the same with all the other techs and trades. The cast has several backups just in
case, and they are all experienced actors and extras, The budget has been thoroughly researched and
the schedule planned carefully. Increasing the chances of this film getting done on schedule and on
budget.
PURPOSE OF THE FILM
Some day’s things just don’t seem to go your way. That happened to me last winter when I got
a flat tire in my newly purchased car. It was Hell. Temperature was at an all time low of -45, no tow
trucks available and a flat spare. To top it all I even broke my car keys trying to pry loose a frozen air
nozzle.
The whole thing played out like a tragic comedy, almost as if planned by someone else at my
expense. On the other hand it could have just been a case of improbability stretched to its limit. It was
during this time that I realized this ordeal would make a great movie.
The absurdity of my situation and the questions it raises are what I propose to put on film. Everyone at
some point in their lives may have believed that life was conspiring against them, but I hope this film will
ask the question of who controls our destiny.
The simple story of a man’s luck (or lack thereof) may well be an old one, but what makes this
one special is the fact that it happened to me. Along with the simplicity of the story, my personal opinion
is that the art in filmmaking is found in the composition of the shots and the flow of the story. To use a
cliché, a picture holds a thousand words; therefore I will use a combination of camera setups, lighting
and mood styles, to tell a compelling story in visual terms.
What makes the story structure unique is the way that I plan to combine my narrative with a
series of improvised monologues, each of which will argue a point of view related to the meaning of
Karma. These talks will be condensed from a series of arguments in order to create the illusion of a
intimate conversation. By breaking the story down into this two elements I can raise questions and add
an element of surprise to what is a straight forward plot sequence.
The characters in each elment would be independent from each other, but the theme itself is
what brings them together. While one side talks about a concept, the other one experiences it first
hand. I think this is a duplicate of what an audience would be thinking when they ask themselves
questions about some of the points explored. Monologues have been used by Shakespeare to explain
internal points of view, which is what I’m hoping to accomplish by integrating them with the narrative.
3
Film Proposal
Gerry Kanter
gkanter2@hotmail.com
613 730-3072
PROJECT AT A GLANCE
Project: CARMA
Format: 35 mm film
Length: 10 minutes
Budget: $3820
Shooting Schedule: 3 days
Production Schedule: 6 months
TASKS
COMPLETE
STATUS
HAVE
NEED
CAST
95%
4 cast for narrative
4 cast for monologue
8 standby and extras
Draft agreement
Schedule scenes & actors
LOCATIONS
90%
Release from telephone company
Found two garage locations
Release from gift stores
Home location release
CREW
70%
1 DOP on board
5 Production assistants
2 Drivers
1 sound technician
grip and light person
photographer
video camera operator
GRANT
APPLICATIONS
50%
IFCO application minor grant complete
Research on alternate funding
Contact TV network for sponsorship
Contact distributor in montreal
BUDGET
50%
31% personal financing ($790)
28% from deferrals – labourcost ($1080)
32% grant or sponsor ($ 1250)
20% fundraising ($700)
FUNDRAISING
20%
Search venues for event
Prepare info packages
Contact family friends public
Collect items for auction
Contact bands/ DJ’s
RELEASES
AGREEMENTS
20%
Draft for conditions and terms
Review with lawyer
Final release forms approved
SPONSOR
DONATIONS
10%
Approach potential stores for services
Find a food sponsor for discounts
Draft agreements
POST
PRODUCTION
10%
Researched options, resumes
Find editor
Find composer
Secure music rights
4
City of Ottawa permits
Car company releases
Film Proposal
Gerry Kanter
gkanter2@hotmail.com
613 730-3072
STORY SUMMARY

ACT 1 “the chase” A man runs with a package chasing after a bus. The package falls and
a box of nails falls onto the street into some water. The man comes back and leans over
to reach for the box. A car speeds by over the water completely soaking him.
KARMA & DIVINE JUSTICE - MONOLOGUE FOR RELIGION
The scene takes place inside a kitchen. A chararcter is washing dishes and preparing for dinner.
She talks to the camera as she moves around the room. The discussion centers on the idea of
reaping what you sow, and divine retribution.

ACT 2 “the flat” the car driver stops to make a phone call. When he returns he finds his
car has a flat tire. He checks the trunk but there is no spare he tries to call a tow truck but
is unable to get one. His only choice is to head home and grab the spare.
KARMA & RECIPROCITY - ARGUMENT FOR NUTURE
This scene takes placestage changerooom. An actor removes makeup in front of a mirror; he talks
to the camera as if tit was an interview. The discussion focuses on tragedy of life and the grand
stage we all perform in. the final act he walks onto stage and the curtain closes

ACT 3 “the tow” The driver returns with the spare, but finds his car is gone. Realizing it’s
been towed he heads to the impound garage. Instead of paying extra he decides to fix
the flat tire himself. In the process he breaks his ignition key while trying to unarm an air
hose.
KARMA & RATIONALITY - ARGUMENT FOR SCIENCE
In this scene takes the character plays chess on a park bench. He ponders the next move and talks
to the camera. He focuses on how even the most perplexing questions have a simple explanation

ACT 4 “the date” the drives pulls up to a house wher his date for that night awaits. He
goes insid e to greet her and waits while she gets ready. Walking into the kitchen he finds
a man wearing a bathrobe. It’s the same man he splashed earlier that day.
KARMA & COINCIDENCE - ADVOCATE FOR LOGIC
In this case the character is dressed in uniform inside a gloomy corridor. He slowly walks and
follows the camera as he talks about probability and game theory

ACT 5 “Down and Out” The driver gets kicked out of the woman’s house. He sheepishly
walks out to the curve, sits down and wonders how things could’ve gone so wrong. He
notices a penny lying on the road. As he reaches over to grab it a car speeds by soaking
him.
KARMA & FATALISM - ADVOCATE FOR DESTINY
The last scene takes place inside in a bar with a character of a waiter. He talks about the futility of
understanding destiny, how maybe there is no reason for things. He serves a drink and brings a trait to a table
where the other four fates are seated. He joins in a game of cards.
5
Film Proposal
Gerry Kanter
gkanter2@hotmail.com
613 730-3072
PROJECT SUMMARY
1.1 OBJECTIVE
The main goal is to plan and produce a short film ready for distribution for the summer of
2006. Total Budget will be $3465 between deferred and direct cost.
1.2 FORMAT & LENGHT
The film will be shot in 16mm colour stock film, with an option to upgrade to 35mm if
sufficient funding is secured. Additional backup footage will be shot in HD video to create
trailers and behind the scenes material. Total screening length will be 20 minutes with a 3:1
shooting ratio
1.3 EQUIPMENT, SERVICES & SUPPLIES
The bulk of the production costs will be the rental of equipment, and film supplies. The
remainder will include technical services such as, lab work, craft services and editing.
Supplies like film and sound tape will be quoted and purchased according to budget
estimates; equipment and services will be procured as required using the budget estimates
as a guideline. A
1.4 LABOUR
The production relies on an experienced technical crew and professional actors in order to
offset problems along the way. Labour cost for cast crew and production will be deferred
until sufficient revenues from distribution deals can be obtained to cover the costs.
Agreements, releases and one-time fees will be negotiated and signed with everyone
involved in the production of the film
1.5 LOCATIONS
Many of the shots will be done on public location for which a good weather and daylight
conditions are required. Permits from the city of Ottawa will be obtained as required. Any
private locations used in the film will require consent and releases agreements signed.
Major locations include mechanic’s shop, gift store, home interior, and interior of car.
1.6 PROJECT MANAGEMENT
In order to accomplish the goals set out, extensive planning is required in the preproduction stage. A thorough budget and estimates will help keep track of cost issues.
Difficult shots and scenes have been broken down into detailed storyboards. A set of
casting call sheets will be completed to ensure shooting stays within schedule. Backup
equipment and material will be on stand by to offset any shortcomings.
6
Film Proposal
Gerry Kanter
gkanter2@hotmail.com
613 730-3072
1.7 FINANCING
A financial strategy has been developed in order to break down the process and source of
funding for this movie. A major portion of the funding will be covered by a grant or a deal
with a distributor. Loans savings and a fundraising event will be held to obtain the
remainder amount. The breakdown is as follows:
- Grant - 32% Covers film supplies and equipment
- Deferrals - 28% used to cover the actors an crew labour costs
- Personal - 20% money coming from my own finances including savings and loans
- Fundraising - 20% funds raised through family and friends and investors
1.8 ADVERTISING AND MARKETING
The objective is to ensure that different promotional avenues are identified and used to
spead word about the film. The following are some of the potential sectors to target the
promotional campaign and the method needed
- Personal. DVD copies for cast crew and sponsors
- General Public. Movie website, posters and flyers.
- Investors. Proposal package, budget estimates and royalty agreements
- Film Distributors. Copies of film, proposals, presee releases
- Film Festivals. Media package, including a letter, pictures and trailer
- Media Outlets. Media package behind the scenes footage, and stills photos.
1.9 DISTRIBUTION
The goal is to reach distribution agreements with a television broadcaster or a short film
distributor. By ensuring the project releases and rights acquisitions are secured it would
make for a more appealing product ready for commercial distribution
- Local Screening Local exhibition to be done at events that cater to digital video.
Organized within a month of film’s competition.
- Film Festivals 1st run targeted mainly to North American film festivals that caters to
digital Film. Submission To Be Made For Spring Of 2006 Exhibition.
- Network Television Exclusive 1st and 2nd window distribution rights to be
negotiated with arts, comedy, independent film, channel for a term contract of less
than 6 months.
1.10
REIMBURSEMENT STRATEGY*
In order to cover labour costs, the movie will first have to generate revenues from
distribution deals. For the time being payments will be deferred. Any money made will be
distributed as a one time fee set out on signed agreements as follows:
- Direct Investors - includes any repayment of loans and royalty agreements
- Production Staff - official cast and crew used at time of production
- Pre-Production - producers, assistants, writer, director.
- Post Production Staff - editor, post-sound and composer.
*The following guideline will only be used in the event that this film project generates revenue as
a result of distribution and/or exhibition agreements. All amounts paid out will be based on a one
time fee determined by the cost sheets used to create the budget
7
Film Proposal
Gerry Kanter
gkanter2@hotmail.com
613 730-3072
BUDGET SUMMARY*
ABOVE THE LINE
A
B
C
D
Story / writer (1)
Director fee (1)
Producer fees (2)
Development Costs
$200 + $100 + = $300
deferred
deferred
deferred
direct
$50
$50
$100
$100
TOT $300
deferred
deferred
direct
direct
direct
$300
$480
$835
$500
$1005
TOT $3120
Direct
Direct
$200
$200
BELOW THE LINE
E
F
G
H
E
Cast (4)
Crew (12)
Supplies / Equipment
Expenses
Professional services
$780 + $2340 = $3120
BOTTOM LINE
G
F
Taxes (14% sum)
Contingency**
$200 + $200 = $400
TOT $400
(Differed = $1500) + (direct = $2385)
= TOTAL EXPENSES $3820
FUNDRAISING
A
B
C
E
G
Labour, cast and crew
Writer fee / director / Producer fees
Fundraising Event ($10 x 60)
Equipment and services donations
Personal investment
deferred
deferred
pending
pending
secured
$780
$300
$500
$100
$390
TOT $2190
pending
secured
$100
$400
INVESTORS / LOANS
J
K
Stockholders ($50 x 2)
Line of credit
TOT $580
GRANTS
M
N
pending
pending
IFCO grant
TV network distributor
$1250
$1000
TOT $1250
* assume only one
(Deferred = $1080) + (Pending = $1950) + (Secured = $790)
= TOTAL REVENUE $3820
* All amounts paid out will be based on a single one time payment determined by the
cost sheets used to create this budget. See additional appendix details for information
on cost estimates and accounts.
**Contingency calculated using direct cost only at 15% rounded up to nearest figure
8
Film Proposal
Gerry Kanter
gkanter2@hotmail.com
613 730-3072
SCHEDULE & MILESTONES
Preliminary Schedule**
1 month + before
Feb 23 to march 23
Planning, scheduling and budgeting complete
Casting call, reviewed and selected
2 weeks before
March 24 to April 6
Locations, researched and secured
Storyboards and shot list ready
Fundraising completed
April 7 to April 13
Hiring remainder support crew
Order stock film material
Equipment / supplies list + contingency
Major crew interviewed and selected
April 14 to April 18
Rehearsals & FX trials
Equipment list rental prepared
Final production schedule
Final Agreements signed.
April 19
Verify contingency plan, changes to schedule
Pick up supplies and equipment,
Prepare/test equipment and special effects
Day 1
April 20
Act 1 “the Chase”
Act 2 “the Flat”
Act 3 “tow garage”
Day 2
April 21
Act 4 “the date” “flashback to garage”
Act 5 “down and out”
5 Monologues
Day 3
April 22
Contingency day – film extra footage as required
April 23 to April 31
Send film for processing Compile stills and shots
Prepare Music and score
Organize raw sound and film material
Begin website and promo design
3 weeks after
May 1 to May 15
Obtain work print/transfer to DV
Begin film editing
Begin arrangements for first screening
1 month after
May 16 to may 23
Complete sound and film editing,
Prepare final print and copies
Assemble promo material
2 months after
May 24 to June 24
Opening Screening
Organize release event party
3 months &
after
June 24 to July 24
Prepare copies to be sent out to cast and crew
Assemble and prepare promo packages as
required
1 weeks before
Pre
Production
4 days before
1 day before
Shooting*
1 week after
Post
Production
*This is a preliminary version of the production schedule. It shows some of the major stages of the project
and the sequence that they will be completed in. A more detailed schedule will be used once the technical
details and final dates have been set.
** All shown dates are subject to change as required by final production schedule
9
Film Proposal
Gerry Kanter
gkanter2@hotmail.com
613 730-3072
2 CAST AND CREW ASSIGNMENTS
Table 2 Production Credits*
GROUP
HEAD (4)
CAST (6)
CREW (9)
POST (3)
TITLE
ASSIGNED TO
TASK DESCRIPTION
1
Producer
Gerry Kanter
Planning, Scheduling, Budget, Financing.
1
Writer
Gerry Kanter
Script, scene changes, character dialogue.
1
Director
Gerry Kanter
Cast call & scheduling, scene setup, lighting
camera set up,.
1
Production Assistance
Angela Thompson
Jason Daley
Crew call & scheduling. Manage crew and
production assistants
1
Lead
Jason Daley
Corry Burke (backup)
Protagonist, 25-30yrs, driving, running, stunts,
dialogue
1
Support 1 (man)
Ron Tarrant
Gillian S (backup)
40-50yrs, running, stunts
1
Support 2 (mech)
Matt Miller
Corry B (backup)
25-30yrs, dialogue
1
Support 3 (girl)
Caitlin Delaney
Eugenia Teoflovik (backup)
25-30yrs, dialogue
2
Driver/ Extras
Pending
Driving, traffic control
1
Camera Operator
Sean Mcveit
DOP, Light scene, focus and effects
1
Sound & Boom
Pascal Aka
Operate recorder and boom
1
Gaffer
Pending
Set Up lights, stands, clamps, etc.
1
Production Asst. #1
1
Production Asst #2
1
Production Asst #3
Eugenia Teoflovik
Nicholas Burton
Runners, special effects, scene dressing
wardrobe, dolly pull
1
Hair & Makeup
Pending
Prepare cast appearance as required.
1
Photos / Video
Kevin Wong
Document behind the scenes, record and
interview
1
Food Services
Pending
Purchase, prepare meals, re-stock, clean up
1
Film Editor
Pending
Add film together, mix sound and sync dialogue
1
Sound Editor
Steve Macleod
Edit sound effects, add folly sound, mix
dialogue and music
1
Composer
Steve Macleod
Compose and record original music score
Gillian Street
Sammy Osman
Caitlin Edmond
Colleen Sutton
Assist gaffer, sound & camera operator
Script, release forms, continuity
*This is a preliminary version of the assignment schedule. It shows some of the major tasks of the
project and who is responsible for their completion. A more detailed schedule will be used once the
technical details and final dates have been set.
10
Film Proposal
Gerry Kanter
gkanter2@hotmail.com
613 730-3072
SUPPORT MATERIAL
SHORT FILM PROJECT
“CARMA”
APPENDIX I TO VII
PROCEDURES
SECTION A
NARRATIVE SCRIPT
SECTION B
MONOLOGUES
SECTION C
STORY BOARDS
SECTION D
LOCATION SCOUT
SECTION E
RESUMES
Gerry Kanter, Filmaker
OTTAWA, ONTARIO
Authors: Gerry Kanter
MARCH 1 2006
11
Film Proposal
Gerry Kanter
gkanter2@hotmail.com
613 730-3072
APPENDIX I COST ESTIMATES
ABOVE THE LINE COSTS
Role / Task
Description
Qty
Unit
Rate (fee)
TOT
A
Director fee
One time fee (deferred)
1
Fee
$50
$50
B
Producer fee
One time fee (deferred)
2
Fee
$100
$100
C
Story / writer
One time fee (deferred)
1
Fee
$50
$50
D
Development
advertising copies gas etc
1
Fee
$100
$100
TOTAL
$300
Rate
TOT
BELOW THE LINE COSTS
E
F
G
Role / Task
CAST
Lead Actor
Support Actors
Extras
Stunts / Drivers
Description
Qty
Unit
One time fee (deferred)
One time fee (deferred)
One time fee (deferred)
One time fee (deferred)
1
3
2
2
Fee
Fee
Fee
Fee
$60
$60
$30
$30
$60
$180
$30
$30
$300
CREW
DOP / Camera
Sound & Boom
Film Editor
Gaffer
Production Assistant
Hair & Makeup
Sound Editor
Special Effects
Photos / Video
Food Services
One time fee (deferred)
One time fee (deferred)
One time fee (deferred)
One time fee (deferred)
One time fee (deferred)
One time fee (deferred)
One time fee (deferred)
One time fee (deferred)
One time fee (deferred)
One time fee (deferred)
1
2
1
1
5
1
1
1
1
1
Fee
Fee
Fee
Fee
Fee
Fee
Fee
Fee
Fee
Fee
$60
$30
$30
$30
$30
$30
$30
$30
$30
$30
$60
$60
$30
$30
$150
$30
$30
$30
$30
$30
$480
EQUIPMENT / SUPPLIES
Camera
16 mm film Stock
Field monitor
Light Kit
Incidentals
Track and Dolly
8mm Movie Stock
Video Film tape
Sound Kit
Sound
Stills camera
Digital Editing Suite
Recording Studio
FILM camera (wknd)
400 ft rolls x 3 @ $ 200
1 total (wknd rate)
Arri light kit
Extras (slate, bulbs etc)
1 total (rent)
Super 8 film in 50ft rolls
2 tapes 240 min
DAT, boom, mike, etc
DAT 60 min long tapes
35mm still Camera film
Rental eve rate (6pm)
Rental eve rate (6pm)
3
3
3
2
3
2
3
2
3
2
3
1
1
$25/wknd
$150
$15/wknd
$30/wknd
$10/day
$15/day
$12
$12
$15/day
$10
$20
$25
$50
$35
$450
$25
$30
$40
$30
$36
$24
$45
$20
$20
$30
$50
day
rolls
day
day
day
day
rolls
tapes
day
tapes
roll
day
day
$835
12
Film Proposal
Gerry Kanter
gkanter2@hotmail.com
613 730-3072
BELOW THE LINE COSTS
H
Role / Task
EXPENSES
Description
Qty
Unit
Rate
TOT
Meals (Shoot)
15crew @ $5/each = $90day
2
days
$90
$180
Hair & Makeup
Transport
Kit with supplies, incidentals
1 Runner cars, parking + gas
1
2
Kit
Cars
$30
$20
$30
$40
Office Supplies
Props & Effects
Copies, Prints, Pencil Tablets
Lump sum
1
1
Set
set
$50
$200
$50
$200
$500
I
PROF. SERCIVES
16mm Processing
16mm Transfer
$0.14/foot x 1000
Transfer to HD
3
Hours
$10
$450
$400
Still film development
8mm Transfer (digital)
3 rolls w/ enlargemnts
Transfer to HD ($5)
3
1
rolls
fees
$5
$50
$15
$50
Videographer
CD Burn Copies
2 roll of tape @$10.00
Multiple DVD and/or VHS copies
2
50
roll
Copies
$10
$1.00
$20
$50
$1005
13
Film Proposal
Gerry Kanter
gkanter2@hotmail.com
613 730-3072
APPENDIX II REVENUE SOURCES
REVENUE MIX
- Arts Grant - 32% Covers film supplies and equipment
- Deferrals - 28% used to cover the actors an crew labour costs
- Personal - 20% money coming from my own finances including savings and loans
- Fundraising - 20% used to raise funds and awareness of local filmmaking.
COST ACCOUNTS
Above
the Line
Cast
Crew
Supplies &
Equipment
Grants
$1250
Investors
$100
Deferred
$1080
Donations
$100
Loans
$400
$100
Personal
$390
$110
Fundraiser
$500
TOTAL
$3820
Expenses
$625
Professional
Services
Contingency
Taxes
$100
$100
$100
$100
$200
$200
$625
$100
$300
$300
$480
$100
$300
$300
$480
$835
14
$80
$100
$300
$200
$500
$1005
Film Proposal
Gerry Kanter
gkanter2@hotmail.com
613 730-3072
APPENDIX III PROCEDURES
Table 1 General Procedures
MAIN
OBJECTIVE
 To successfully organize, plan, and implement the production of a short film to be
completed and ready for Canadian distribution by the spring of 2006. Direct cost will
be kept under $1500 and a running length of no more than 10 minutes
DELIVERABLES




Production Plan Including schedule, budget, cast sheets, storyboard, locations, releases
Working Print Film version for theatrical release.
Broadcast Copy. Finished ape meant for distribution to festivals and television broadcast.
Distribution Agreement. Complete method of screening film
TECHINICAL
REQUIREMNTS





Movie will be shot in 16mm stock with some segments done with 8mm film.
The movie will be upgraded to 35mm if enough money can be raised
Shooting ratio for film of 5:1 also filmed on digital video as back up strategy.
Still shots and behind the scenes footage to be used for behind the scenes outtakes
Production equipment to be rented from IFCO and saw cable as required.
PRODCUTION CREW





Daily crew minimum of 5 people, maximum of 15.
Minimal experience for lighting gripping and production assist.
Hire highly experienced DOP, sound person and editor.
Schedule crew rotations in 6-8 hour time slots.
Able to provide own transportation and parking to and from location.
1.5
SET PROCEDURES






The final length of the short will be under 20 minutes
Production from beginning to end will be approximately 6 months
2 shooting days, one for contingency, mostly on weekends
Normal production day to run from 6am to 6pm.
Two half hour breaks provided for lunch and dinner
All labor cost will be deferred by cast and crew for the production of the film.
1.6
CAST AND ACTORS
 Hire local actors with lots of experience in theatre or film.
 Obtained signed release form for all cast, crew and stakeholders.
 Able to commit for entire shooting schedule, and at least one post session.
1.7
PRODUCTION
ASSITANCE
 Use Production manager to find locations and secure rights and agreements
 Assistants used as drivers, runner’s extras & stand-ins.
1.8
FOOD SERVICES
 Food supplier to work independently from technical film crew.
 Lunch and snacks supplied for each day of shooting.
 Most meals to be home made to save on costs.
1.9
LOCATIONS AND SET




Locations and sets to be found within City of Ottawa core.
For driving scenes find locations with low traffic flow. Level streets.
Try to find nearby access to water and washroom facilities.
Obtain prior consent from property owners to shoot inside locations.
1.10
MEETINGS AND
REHERSALS




Set up one Start up meeting to brief cast and crew on production details.
Daily production meeting to brief directing staff before shooting begins.
Ensure a dry run rehearsal to be completed for both cast and crew a few days.
Produce e-mail letter to report back to principal investors on progress every 4 months.
1.1
1.2
1.3
1.4
 *The following guideline will only be used to highlight the tasks at hand and be used to draft any documents or agreements
regarding roles and responsibilities of individuals involved in production
15
Film Proposal
Gerry Kanter
gkanter2@hotmail.com
613 730-3072
APPENDIX IV CHECKLISTS
Table 2 Task Checklists
Pre Production Check
 Prepare overall project document to serve as basis of contract
 Schedule of milestones, events, Gantt chart and work breakdown
 Estimate cost and sources of revenue, documents and research
 Contact potential actors and smaller crew members, arrange space book schedules
 Request and Contact potential DOP, sound, FX’s and editing staff
 Request and Contact videographer to do behind the scenes option
 Prepare, score sheets, questionnaire and other evaluation documents
 Set up casting space and volunteers, facilitate audition, pick up supplies
 Collect, organize, evaluate information, prepare cast sheet, contact selections
2.1
PROJECT PLAN
2.2
CASTING & CREW
SELECTION
2.3
BUDGET AND
REVENUE
 Finalize cost estimations & accounts, risk analysis and constraints
 Prepare documentation to approach investors, donors and grant committees
 Approach and finalize applications, contracts and agreements for funding.
 Schedule to collect, donations and loans and grants, prepare cash flow
2.4
LOCATIONS AND
RELEASES
 Prepare documentation letter to approach businesses
 Determine required permits, list of businesses and locations required
 Approach and finalize release forms for cast, crew, location owners and incidentals
 Determine required permits, list of businesses and locations required
Production Check
2.5
2.6
SETUP
 Day before shoot, pick up equipment, supplies, arrange for parking and storage
 Check contingency plan, verify location, weather and traffic
 Hold production meeting, confirm schedule last minute rehearsal and equipment checks.
Ensure all release forms are complete
SHOOTING
 Set up camera sound & lights, special FX, makeup and crew
 Record scenes, review video and sound, write production notes, record set photos and behind
the scenes footage. Redo scene as required, collect audio background and folly sound
backups.
 Wrap up & move to next location, collect equipment, catalogue footage, sound, verify
production notes, record scene & dialogue changes.
 Final check of footage and sound, determine re-shoots and changes. adjust schedule,
 Record costs for the day, production notes, accounts and receipts.
Post Production Check
2.7
CREATE FINAL
COPY
2.8
MARKETING AND
PUBLICITY
2.9
DISTRIBUTION
2.10
WRAP UP &
CLOSING
 Review and organize footage and sound, incorporate production notes
 Begin editing rough copy, mix time code and notes
 Prepare music score,
 Master mix of video and sound, re-record dialogue, and folly
 Copies ready for distribution.
 Prepare documentation and press releases
 Create list of media organizations, festivals and events to showcase film
 Approach and finalize applications and exhibition arrangements
 Organize local screening, create and distribute publicity material.
 Plan promotional strategy for festival screenings. Costs, travel, press releases etc
 Create final list of interested networks, private distributors, and public organizations
 Prepare applications, legal documents and organize release forms.
 Approach and finalize distribution agreements
 Implement reimbursement of any revenue as set out in strategy.
 Implement reimbursement strategy as required, balance cost and revenue sheets
 Compile all notes and information to create project report
 Include lessons learned, evaluate risk analysis estimates with actual results
 Bind information and make copies for future reference.
16
Film Proposal
Gerry Kanter
gkanter2@hotmail.com
613 730-3072
APPENDIX V CONTINGENCY
Table 3 Production Contingency Plans
3.1
Risk type
Prob.
Cost
Trigger
Response
Side Effect
3.2
Rainy Day
70%
$200
1day
Forecast day
before = rain
Extra day
Interior shots on standby
$140 risk amount
gas, food
3.3
Missing cast or crew
60%
$200
1day
Night before
Backup list cast
Re-schedule of shots
$120 risk amount
Backup list
Confirm day before
3.4
Location not available
50%
$200
1 day
Day before
Check days before
Backup locations
$100 risk amount
pay to find location
3.5
Fundraising insufficient
50%
50% funding line of credit
$1200
missing week approach new financiers
1 week
before
cost cutting
3.6
No water for FX
50%
$200
1 day
No close
access
3.7
Crucial equipment not
available
50%
$200
1 day
Standby list of suppliers
2 days before Change in schedule
Change in script
3.8
Permits or releases not
35%
secured on time
$400
2 day
Day before
Cover trademarks
New camera shots list
Ask Permission after
$100 risk amount
Changes to shots - editing
Changes to script
3.9
Major Car malfunction
30%
$200
1 day
Unable or
unsafe to
drive
Second car in standby
Money to fix car
$60 risk amount
pay for repairs
3.10
Daylight insufficient or
overcast
30%
$200
1 day
Forecast for
rain
Additional lighting
Power generator
$60 risk amount
pay for equipment
3.11
Film stock not available
30%
Or not in budget
$200
1day
No stock 1
week before
Find new supplier
Change stock
Change format
$60 risk amount
Proposal changes
3.12
Heavy Traffic on
location
25%
$200
1 day
Traffic control
Alternate location
$50 risk amount
pay for equipment
3.13
Film camera misses
crucial shot
20%
$200
1 day
Review of
prints
Use Second camera
2 takes ratio 3:1
$40 risk amount
pay for camera and tape
3.14
Injury of personnel
10%
$500
1 day
Significant
injury
First aid kit
Release form - insurance
Trained stunt person
$50 risk amount
Purchase policy
Buy fist aid
3.15
Equipment failure or
damage
10%
$1000
1 day
Significant
injury
Release form - insurance
Stand by replacement
$100 risk amount
Purchase policy
Shooting angles & makeup
New location
Container & pump
$ 600 loan to keep shooting
Change in format
New plan, revisions
$100 risk amount
pay for hose-pump
$100 risk amount
pay for replacement
*the risk amount is the result of probability time impact and should be less than the entire amount for contingency funds which is
$200. the solutions are suggested strategies for the problem
17
Film Proposal
Gerry Kanter
gkanter2@hotmail.com
613 730-3072
APPENDIX VI CAST SELECTION
18
Film Proposal
Gerry Kanter
gkanter2@hotmail.com
613 730-3072
19