NOTES FOR THE FINAL PRODUCTION
‘Presence’ is a documentary short film that combines dynamic visual imagery and compelling human
stories to inform audiences about some of the struggles that humanity experiences with living in
the present, due to forces either in the past or future.
CREATIVE DECISIONS AND CREW MEMBER RESPONSIBLE
EVERYONE:
Next meeting Friday 10th October 4.00pm Y3A
Rough cut is in week 10 (week after next) and we need all KEY rushes done by then
Work with Damien, Daniel, and Eric from web design class on online collaboration site for posting
notices, references, and creative ideas
Meeting with web design group week of 20th October (date to be determined)
Individual roles
KRISTY CLINTON (DIRECTOR)
Print out copies of this document for the rest of the crew members during meeting tomorrow
Look up Directing resources on Ilearn
Meet with Josh and Larissa to arrange meeting with Iqbal and Marcus for filming on the beach
Script draft- update-make more specific and simplified and upload to group
Upload notes from collaborative website and documentary film book
Work with Luke, Damien, Daniel, and Eric from web design class on online collaboration site for
posting notices, references, and creative ideas
Collaborate with Nikki and Sarah on Shot lists – Coverage, Storyboard –staging, style, and supporting
theme
Collaborate with Yasmin, Nikki and Sarah on look, sound and temporal style, conversations with dop,
designer, editor, sound design, and composer
Explain the concept of children’s sounds fading out and adults’ voices fading in, interviewers centred
in shot and voices not matched by visuals to (Nikki, Sarah and Josh) group meeting tomorrow
Create rough story board with Nikki, Sarah and Josh
Draft and print out examples of shots for Nikki and Sarah
Look up copyright on using children’s book as a grab to link the adults and children
LULU JEMIMAH (PRODUCER)
Update and post crew roles and responsibilities
Set up shoot days availability plan– try to do 2 day blocks, can do 4 shoot day plus one ‘pick-up’ if
needed (done below)
Create contact lists (include Marcus) to be distributed during production meeting
Write to Marcus and Karen and explain logistics of needing camera at different times and not
necessarily full days, Ask Marcus if we can film with private DSLR camera,
Email Marcus about list of Gear Camera, Cards, Tripods, Clapper App, Boom pole, Mic, and provide
Lulu for booking
Contact interviewers, find out as much background information then draft questions for interview
Contact interviewers and children’s parents for permission forms
Find out availability and forward to Josh to make filming schedule (see below)
Called fire department in Beecroft and need to call emergency department at the Cross for a possible
interview (suggested by fire department)
Set and communicate meetings & planning days for crew members and website collaboration
Bookings are whole day only, try to schedule 2 day blocks
Print and get signatures for release forms – crew, cast – need hard copies! Ensure working-withchildren protocol is maintained
Create project distribution plan and kit for rough cut class and talk to Kristy about posters
LARISSA BATEMAN (PRODUCTION DESIGNER)
Script Breakdown - Location(s), Props, Set/Costume Design
Make a plan about props, costume, colour theme and how elements connect-(water for children and
adults drinking water)
Finalise location details: think about the colour scheme, logistics and technicalities. Adults in
structured or constructed (buildings) settings and kids in natural settings, the audience should be able
to notice the difference in constrained and free lifestyle
Discuss and finalise the context with cinematography (Nikki and Sarah) and communicate what they
need to cover
Consider location within location scouting. What areas of the location work best for visual-collaborate
with Nikki and Sarah
JOSH FRANGI (DEVELOPMENT PRODUCER)
Set up shoot days schedule based on availability (see below)– try to do 2 day blocks, can do 4 shoot
day plus one ‘pick-up’ if needed
Meet with Director & DOP (Kristy and Larissa) to meet with Iqbal and Marcus since plans involve
beaches
Secure location permissions – secure well in advance (use online insurance certificate), shooting on
campus permission forms, afterhours access permission forms
Print insurance certificates to take on locations and Risk assessment/ Safety Issues form (no firearms,
knives or cars!!)
Location securing forms based on location details provided below (see FORMS available on Ilearn)
Create call sheets – 24 hours before shoot day, include: Info on catering, toilets, maps travel
arrangements, personnel required, phone numbers, props, gear, costumes, makeup etc needed
Pick up and return gear as arranged by Lulu from Marcus and decide on secure location where it will
be stored
Shooting schedule include gear pickup and return, consider: set up time, rehearsal, contingencies,
meal breaks/rest breaks, divide days 1st by location, 2nd by actors needed (times and location
arranged below) 3rd by # of shots planned, back-up time (data wrangling)
Create and post pre and post progress report after each film day (brief)
LUKE JARVIS (EDITOR)
Look up and update crew on cutting days – draft due dates
Look up and update crew on delivery/screening date (hint – start here and work backwards – this
date is set!)
Look up and update crew on script drafts due dates
Work with Kristy, Daniel, Damien and Eric on online collaboration site for posting notices, references,
and creative ideas
Take crew and cast stills on set to ensure continuity (and details like not crossing) is maintained and
for using on the website
Oversee and double check that visual details for editing are maintained on set
Edit and keep track of credits and special thanks!
Film cast and crew/making of interviews part of assignment and needed for website
NIKKI SPICER AND SARAH WILLIAMSON (CINEMATOGRAPHERS)
Discuss gear needed and inform Lulu for emailing Marcus like Camera, Cards, Tripods, Clapper App,
Boom pole, Mic, and provide Lulu for booking
Look up cinematography resources Ilearn
Collaborate with Kristy on Shot lists – Coverage, Storyboard –staging, style supporting theme
Work closely with Kristy on pre-shots and planning of final look, go with Kristy for pre-shoot practice
(Friday 10th October
Collaborate with Larissa on style and visual effects
YASMIN FLETCHER (SOUND DESIGNER AND EDITOR)
Look up and update crew on sound and music days & draft due dates
Research music options and atmospheric sounds
Research movies with similar tropes for sound used
Research copyright laws on using sounds picked
Consider Tripple J Unearthed (contact or keep an ear out) for upcoming musicians eager for exposure.
Advisable to do it early since they may not always reply promptly
INTERVIEWEES PLANNED
ADULTS
David Meller-Kristy’s brother-in-law works for Intel but has always wanted to be a pilot (offered to be
test interview if good we will use footage)
Rebecca Simonka house burnt down and she got burns from the incident (lives in Blue Mountains so
may have to film at village
Susie Hook used to work in a cancer ward for children (to be filmed at Luke’s house)
Lara Boyle (did aid work in Africa and studies at Macquarie
CHILDREN
Kristy two nieces’ ages 3-years-and 6-years-old (element of sun)
Kristy’s nephew 11-years-oldand his friends on bicycles (element of fire)
Luke’s nephews’ ages 3-9 years-old have trampoline which can be used as a trope (element of wind
and earth)
Possible interviews
Eden Gale 25-year-old mother and wife who went to Asia to volunteer and avoided being kidnapped
but had to hide there for months
Julian’s friend-Nan who raised him passed away and he had a mental break down and was hospitalised
but is okay now
Surf club gentleman-Kristy’s sister’s friend and ex-paramedic
*Lulu called Beecroft fire station and they said would get back but they don’t usually like to talk about
the things they have seen. They suggested calling the emergency department at the Cross
Interview psychologist preferably someone from university (Kristy)
Interview someone working in a hospital (Kristy)
LOCATION AND TIMES
Monday 13th 9 Angophora Cres Forestville 2087 NSW Sydney Australia-Luke’s house film nephews
(wind and earth) and Susie Hook
Wednesday 15TH October children for sun and fire element- 110 Narrabeen Park Parade, Warriewood,
New South Wales 2102 area (need to talk to Marcus about filming on beach)
Friday 17th October (to be confirmed) October 166/122 Culloden Road, Marsfield, 2122, NSW, Kristy’s
apartment, Rebecca Simonka (to be confirmed)
Friday 17th October Macquarie University NSW 2109 Australia Lara Boyle
To be determined 17/111 Pacific Hwy, North Sydney, NSW 2060 David Meller (flexible on date,
depends on time)
To be determined Eden
IDEAS TO EXPLORE
Vision: Come in late, Leave early
No need to have the interviewers introduce themselves by name. Can have on-screen
introduction/credit.
Focus on interview questions that will draw out powerful, statements or quotes to heighten what they
say (like-I had given up on life…)
Pace-Have children in slow motion and adults in fast, quick, sharp shots.
Visual atmosphere
Sounds of children will fade out and voices of adults fade in before their faces show. When they appear
on screen, have them initially centred in camera but as the interviews progress have them explore
their worlds. (Kristy explain to Nikki, arah and Josh)
Use the idea of a book beginning and ending. Have the children and adults read extracts from a
children’s book-preferably metaphorical but can be literal-on change or movement. Something like
Dr. Seus ‘Oh the place you go’ or quotes from a blog. We need to look up copyright on this and write
something ourselves (Kristy and Lulu)
ON SET PROTOCOL
SAFETY FIRST – check for electrical safety, trip hazards, uneven ground, don’t shoot in roads,
dark alleyways, get special instructions for water, beaches, cars, stunts of ANY kind
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No firearms
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If you are on time you are already late
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Use good sense in public spaces
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Clean up after yourselves
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1st AD secures the set
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director calls action & cut, talks to actors, dop & first, first talks to everyone else
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listen and respond, watch everyone’s back
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don’t argue, don’t run