Since our project has been very much ‘small-scale’ as we haven’t needed mass amounts of equipment and are filming in small locations and crew, my group hasn’t needed any call sheets (to clarify, I did offer to make the schedules and such of course, but they said it was fine).
Here are screen grabs of the schedule, sadly it hasn’t been filled out as much as I would’ve ideally liked. If I were on set, I’d be able to keep track of everyone’s progress that way, but I’ve realised how difficult it is to enforce things such as this. For this schedule, I had colour-coordinated everyone's roles so that they could fill out their availability to ensure easy scheduling of shooting dates, but since only 3/5 of us were needed on set, it became easily forgotten by the rest of the crew, so for the future, I will rethink these methods. But, for me, this method is helpful as it helps me map out the ideal dates that we want to reach post-production/the end of production so that we are able to dedicate equal times to each post-production craft (which, as an editor myself, I understand the vast importance of - and how less time refrains full creativity).
To also recap on post-production scheduling, these are the dates that I initially had pencilled in (which sadly did not work as the video edit needed more time) but for reference:
DRAFT 1: 19.11.21
DRAFT 2: 26.11.21
PICTURE LOCK/OVER TO SOUND: 29.11.21
DRAFT 1: 1.12.21
DRAFT 2: 7.12.21
(to be specific, the edit would have obviously reached several drafts within this time period, but these are the two main drafts that would’ve been sent to the group for feedback and notes)
As mentioned, the edit needed more time, and as producer I stepped in and spent 7 hours with our editor in the editing suites to help with the parts she was struggling with. I will discuss this in a separate post as I want my contributions to be recognised (see post on the 2nd of Dec).
Comments