DOCSLIB.ORG

Guide to Filming in Your Community S E P T E M B E R 2 0 1 0 Guide to Filming in Your Community

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Guide to Filming in Your Community S E P T E M B E R 2 0 1 0 Guide to Filming in Your Community Guide to Filming in Your Community s e p t e m b e r 2 0 1 0 Guide to Filming in Your Community Table of Contents Introduction .................................................................................. page 3 A brief background ........................................................................ page 3 The Michigan Film Incentives ....................................................... page 3 Michigan Film Office .................................................................... page 3 Role of the municipality ................................................................ page 3 Streamlining the process—your primary film contact .................... page 4 Role of the PFC ............................................................................ page 4 First contact .................................................................................. page 4 Supplementary opportunities ........................................................ page 4 Locations ....................................................................................... page 5 Location scouting .......................................................................... page 5 Location fees ................................................................................. page 5 Location photography ................................................................... page 5 Street closures ................................................................................ page 6 Permitting ..................................................................................... page 6 Press and media ............................................................................. page 6 Additional suggestions and caveats ................................................ page 6 That’s a wrap ................................................................................. page 7 Film industry resources.................................................................. page 7 Michigan Film Office staff ............................................................ page 7 Glossary of terms ........................................................................... page 8 Sample Location and Permit Application.................................page 9–11 Property owner’s guide to filming locations .......................... page 12–13 Property Data Form .................................................................... page 14 List of core communities ............................................................. page 15 300 N Washington Sq Lansing, MI 48913 [email protected] tel 800 477 3456 tel 517 373 3456 fax 517 241 0867 MichiganFilmOffice.org 2 Guide to Filming in Your Community INTRODUCTION MICHIGAN FILM OFFICE On April 8, 2008, the state of Michigan enacted what many The Michigan Film Office (MFO) is a state agency created regard as the most aggressive film incentive program in the to attract filmmakers to Michigan, and assist the overall nation. Despite any extra attention the industry may bring filmmaking process. As a state organization we try to to the state, the legislation is first and foremost an economic streamline the process for all parties involved, particularly at program to help diversify and stimulate the state’s economy the community level, thus the purpose of this handbook. and create employment. This guidebook has been created Since the existing film incentives were enacted the Film so your municipality may be better prepared to handle any Office administers the program itself, including the review filming that takes place, and best take advantage of the and co-approval of all applications. In addition, the MFO benefits that come with hosting a major film production. provides: • Resources and facilitation for film productions • Locations assistance, including photographic and A BRIEF BACKGROUND scouting needs In 2008, following passage of the statute, Michigan film • Guidance for communities to best accommodate activity consisted of: productions, and realize maximum benefits. • 35 projects completed For your reference, a roster of the MFO staff and contact • $125 million in production expenditures information is at the back of this guide. • 2,763 individual production jobs In 2009, film activity consisted of: ROLE OF THE MUNICIPALITY • 52 projects completed “Film friendly” is often the current buzz phrase as most every • $233 million in production expenditures city or town would like production activity to come to its • 4,000+ individual production jobs community. The first, most important step in that scenario is For several years subsequent, industry growth is projected to make sure that same sentiment is felt throughout the city’s to be continuous, and statewide. administration. Film productions may have unusual requests and at unusual times, so please be ready to say yes rather than no. As we like to say, “kill ’em with kindness.” THE MICHIGAN FILM INCENTIVES If you’re good to productions, they can be very good to The Michigan Film Production Incentive offers a refund- you; not only with potentially millions of dollars spent in able tax credit on expenditures made in Michigan, with a your town, but a return trip for another film, a sequel, TV minimum budget of $50,000. This applies to filmed en- series, or more importantly, positive word-of-mouth to other tertainment projects such as theatrical or television movies, producers who may shoot here, not to mention the possibility TV pilots and series, reality shows, documentary films, web of increased tourism. It is no coincidence that Mackinac programming and music videos.* Island’s Grand Hotel still hosts an annual convention of fans The credit applies to all goods, services and labor of the film,Somewhere in Time, which was filmed at that purchased in-state, while an additional 2% credit is available location over 30 years ago. when filming or vendors are in one of Michigan’s 135 “core Proactive salesmanship however can get tricky, so we ask communities” (page 15). you please leave actual solicitation of film activity to the Michigan Film Office. If production companies and studios * The legislation also covers digital media such as interactive websites, receive sales pitches from every city in the state, they will animation and video games, which in most cases will not apply to the get fatigued and quickly uninterested. Since the MFO is the guidelines in this booklet. state’s primary promotional agent, it continuously presents Michigan’s entire geography to producers, providing all possible options. 300 N Washington Sq Lansing, MI 48913 [email protected] tel 800 477 3456 tel 517 373 3456 fax 517 241 0867 MichiganFilmOffice.org 3 Guide to Filming in Your Community Some municipalities have created websites to present their parking public and private properties various attributes for filmmaking, which may work nicely to security entertainment options also streamline your processes. Included on a website could location possibilities crew and filming needs be location photos, airport or freeway proximity, maps, hotels resources hotels/apartments and accommodations, retail and supply resources, recreational and entertainment options, and especially permits, perhaps in printed or PDF versions. Given a community’s interest to FIRST CONTACT host filming, the following are some steps to best bring that You may be contacted by a film company before they contact objective to fruition. the Michigan Film Office, and if so, please provide the name to the MFO to assist all communications. In addition, you will want to obtain the following information for your own STREAMLINING THE PROCESS— purposes: PRIMARY FILM CONTACT • Project title and type (e.g. feature, TV show, reality show, To achieve the most clarity and efficiency in your local documentary) process, it is strongly suggested one person be your primary • Key personnel (producer, line producer, unit production film contact (PFC). Whether it is in the city manager’s office, manager, director) police dept., mayor’s office, or a special department of film • Budget range (to give you an idea of the project’s scope activity, one person when empowered is usually best able and needs) to streamline the process of approvals, communications, • Basic story line and content permitting or location help that comes with any production • Location needs and/or breakdown activity. • Resources needed Film productions often are forced into erratic shooting schedules due to innumerable variables and circumstances, so adhering to long lead times for requests sometimes may SUPPLEMENTARY OPPORTUNITIES not be easy. Realizing council approval is usually required Aside from actual filming, producers may have other needs for street closures and special events, many cities have been that your community can fulfill, such as public buildings and revising their policies to allow a more immediate approval properties that can assist in certain ways: process, usually shepherded by their PFC. Either way, you 1. Potential filming location should develop a film policy now to avoid any problems when 2. Production office space a film company arrives. Once that Primary Film Contact is in 3. Production warehouse space for filming, storage, set place, please let the Michigan Film Office know their name so construction, casting calls we can have it in our records. 4. Property for base camp operations (trailer and vehicle parking, catering tents) While the above items can bring needed revenue, you ROLE OF THE PRIMARY FILM CONTACT might want to consider a pricing deal as an added
Load more

Recommended publications
  • Apichatpong Weerasethakul
    UNKNOWN FORCES: APICHATPONG WEERASETHAKUL April 18 – June 17, 2007 hold of and ask what I should do. I am consulting a fortune teller now for what the next film should be. She told me the main character (light skin, wide forehead), the locations (university, sports stadium, empty temple, mountain), and the elements (the moon and the water). RI: The backdrops of much of your work accentuate feelings of aloneness and isolation from others. Films like Tropical Malady (2004) and Worldly Desires (2005) traverse remote recesses of distant, even enchanted jungles. In FAITH (2006), you leave earth entirely in search of greater solitude in outer space. You seem interested in or at least drawn to obscure or enigmatic sites that have been left relatively unexplored, untouched, unimagined… AW: That’s what I got from the movies. When you are in a dark theater, your mind drifts and travels. In my hometown when I was growing up, there was nothing. The movie theater was a sanctuary where I was mostly addicted to spectacular and disaster films. Now, as a filmmaker, I am trying to search for similar feelings of wonder, of dreams. It’s quite a personal and isolated experience. Tropical Malady is more about a journey into one’s mind rather than Apichatpong Weerasethakul a real jungle. Or sometimes it is a feeling of “watching” movies. RI: Can you speak about your use of old tales and mythologies in your work? What significance do they hold for you? AW: It’s in the air. Thailand’s atmosphere is unique. It might be hard to understand for foreigners.
    [Show full text]
  • A Producer's Handbook
    DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice.
    [Show full text]
  • Evening Filmmaking Workshop
    FILMM NG A I K N I E N V G E P R K O O DU BO CTION HAND April 2010 NEW YORK FILM ACADEMY 100 East 17th Street Tel: 212-674-4300 Email: [email protected] New York, NY 10003 Fax: 212-477-1414 www.nyfa.edu CLASSES Direcotr’s Craft Hands-on Camera and Lighting Director’s Craft serves as the spine of the workshop, Beginning on day one, this is a no-nonsense introducing students to the language and practice camera class in which students learn fundamental of filmmaking. Through a combination of hands- skills in the art of cinematography with the 16mm on exercises, screenings, and demonstrations, Arriflex-S, the Lowel VIP Lighting Kit and its students learn the fundamental directing skills accessories. Students shoot and screen tests for needed to create a succinct and moving film. focus, exposure, lens perspective, film latitude, This class prepares students for each of their slow/fast motion, contrast, and lighting during their film projects and is the venue for screening and first week of class. critiquing their work throughout the course. Production Workshop Writing Production Workshop gives students the The writing portion of the filmmaking course opportunity to learn which techniques will help adheres to the philosophy that good directing them express their ideas most effectively. cannot occur without a well-written script. The This class is designed to demystify the craft of course is designed to build a fundamental filmmaking through in-class exercises shot on understanding of dramatic structure, which is film under the supervision of the instructor.
    [Show full text]
  • 22 4-110 WORK in EXCESS of 18 HOURS on Any Day Where a Director Works in Excess of Eighteen (18) Hours, the Producer, at Its Ex
    4-110 WORK IN EXCESS OF 18 HOURS On any day where a Director works in excess of eighteen (18) hours, the Producer, at its expense, shall offer the Director either: i. first class nearby hotel accommodations, or ii. transportation provided by a reputable third party car service to the Director’s home or hotel if on distant location. Under either (i) or (ii) the Producer shall not be responsible or liable for any loss, damage, casualty or theft in connection with any property of the Director. 4-111 PRODUCTION CENTERS Notwithstanding anything to the contrary in this Agreement, the following shall apply to Directors for the purposes of establishing where Directors may be employed as a “local hire.” The Director shall designate the Production Center in which he/she wishes to be employed as a “local hire” in accordance with the rules and procedures currently followed by the Guild. ARTICLE 5 STAFFING, MINIMUM SALARIES AND WORKING CONDITIONS OF UNIT PRODUCTION MANAGERS, FIRST AND SECOND ASSISTANT DIRECTORS 5-100 STAFFING 5-101 UPM STAFFING A UPM shall be employed when the duties of a UPM, as commonly understood in the motion picture industry, are to be performed. A UPM may not perform the functions of a 1st AD unless such UPM is a 1st AD. A 1st AD may perform, with the consent of the Guild, the functions of a UPM interchangeably or in conjunction with the performance of his/her 1st AD duties. An AD is the only person who may assist the UPM in the performance of his/her duties.
    [Show full text]
  • Protocol for Filming During the Covid-19 Health Crisis Spanish Association of Advertising Producers (APCP)
    APCP Protocol for filming during the Covid-19 Health Crisis Spanish Association of Advertising Producers (APCP) FECHA PROTOCOLO APCP: #20 ABRIL 2020# Protocolo APCP_200420_V01 PROTOCOL FOR FILMING DURING THE COVID-19 HEALTH CRISIS SPANISH ASSOCIATION OF ADVERTISING PRODUCERS (APCP) The aim of this Protocol is to foster the economic recovery of the advertising film industry, whilst protecting the workers and supporting public health in order to contribute and adapt to the current situation. This action plan abides to all regulations included in the editions of the Spanish Official Gazette published since the 14th March 2020 to date and the guidelines issued by the Competent Authority and the delegated Competent Authorities. Due to the special nature and characteristics of the current situation created by the Covid-19 pandemic, which is having an impact on all aspects of life and society both in Spain and abroad, information is constantly changing. Therefore, the APCP Protocol will be updated and adapted to any new regulation that comes into force. Any commercial shoot carried out by the APCP producers from now on and whilst the special measures issued by the government are in force, must abide to the framework of actions and recommendations included in this APCP Protocol, thus guaranteeing that all workers operate under a responsible action plan. Therefore, the budget of the projects carried out by APCP producers will be calculated according to the provisions in the version of the Protocol in force on the same date, in order to guarantee that all actions and timelines are duly updated and applicable. This protocol complements, but does not replace, the ORP guidelines and the coronavirus prevention regulations that each producer may apply in its own company, workplace and with its own staff.
    [Show full text]
  • Bfi-Teaching-Film-Language-Sound
    Starter “How and why different spectators interpret the same use of sound differently” (educas) • What is the mood/atmosphere created by the sound? • Is it largely diegetic or non-diegetic? • Are there any characters present? Who are they? • How would the narrative develop from this point? A Duchy Parade Films Production made with the support of the UK Film Councils new cinema fund.© (2010) All rights reserved Film Language: Sound The Orchestra A Duchy Parade Films Production made with the support of the UK Film Councils new cinema fund.© (2010) All rights reserved Film Language: Sound Film Language: Sound ‘A whistle stop tour of sound in film through theory and practical production’ Welcome Film Language: Sound Who are Into Film and what do we do? 11,423 Film Clubs* 17,432 teachers trained* 195,556 teaching resources Into film Awards (March) downloaded* & Festival (November) *2016-2017 Aims of the session • To develop the ability to use and understand film language associated with sound. • To demonstrate a variety of activities to help students gain deeper understanding of key sound terminology. • To review and critique a range of film titles to illustrate how and why sound techniques are used. • To facilitate understanding of theoretical concepts through practical filmmaking activities. Film Language: Sound Learning outcomes • To explore the historical context of sound. • To identify and apply key sound terminology in film. • To practically apply theoretical understanding of sound techniques. Film Language: Sound Film Language prompt cards • Key terms used in this session are featured in the Sound section of the prompt card pack.
    [Show full text]
  • List of Non-Exhaustive Crew Titles That Will Be Considered for Funding
    List of non-exhaustive crew titles that will be considered for funding: Director Best boy (lighting) Key make-up artist Producer Lighting technician / Electrics Special make-up effects Artist Line producer Grips (SFX makeup) Production assistant Key grip Make-up supervisor Production managements Best boy/Best Babe (grip) Make-up artist Production manager Dolly grip Key hair Assistant production Production sound Hair stylist manager Production sound mixer Special effects Unit manager Boom operator Special effects supervisor Production coordinator Second assistant sound Stunts First assistant director Art department Stunt coordinator Second assistant director Production designer Film editor Accounting Art director Editorial[edit] Production accountant Line Standby art director Negative cutter Producer Assistant art director Colorist Location manager Set designer Telecine colorist Assistant location manager Illustrator Visual effects[edit] Location scout Graphic artist Visual effects Unit publicist Set decorator Visual effects producer System administrator Buyer Visual effects creative Continuity Leadman director Script supervisor Set dresser Visual effects supervisor Script Writers Greensman Visual effects editor Casting Construction Compositor Casting director Construction coordinator Matte painter Cast PA Head carpenter Sound and music Drivers Carpenters Sound designer Camera and lighting Studio hands Dialogue editor Director of photography Propmaker Sound editor Camera Scenic Re-recording mixer Camera operator Key scenic Music supervisor First assistant camera Property Foley artist Second assistant camera Propmaster Conductor/ orchestrator Film loader Weapons master Score recorder/ mixer Digital imaging technician Costume department Music preparation Steadicam operator Costume supervisor Music editor Motion control Key costumer Previs technician/Operator Breakdown artist Animation Lighting Costume buyer Gaffer Cutter .
    [Show full text]
  • Seattle Location Management and Scouting
    Mark A. Freid – Seattle Location Management and Scouting. Field Producing. (310) 770-3930 [email protected] www.northernlocs.com QUALIFICATIONS Teamster Local 399 Location Manager. CSATF Safety Passport. LOCATION SCOUTING AND MANAGEMENT 2001-2017 FEATURE FILM/TELEVISION: War for Planet of the Apes. 20th Century Fox. VFX Plate Unit Location Manager Ryan Stafford, VFX Producer. 50 Shades Freed, 50 Shades Darker. Focus Features. 2nd Unit Location Manager Scott Ateah, 2nd Unit Dir. Barbra Kelly UPM. Marcus Viscidi Producer. Grey’s Anatomy. ABC/Disney. Location Scout Thomas Barg, Production Supervisor. Vacation. Warner Brothers/New Line. 2nd Unit Location Manager Peter Novak, 2nd Unit Production Supervisor. The Librarians . Electric Entertainment. Location Scout Bobby Warberg, Location Manager. David Drummond, Location Scout. 50 Shades of Grey. Focus Features. 2nd Unit Location Manager David Wasco Production Designer, Barbra Kelly, UPM, Marcus Viscidi Producer. Transformers 4. Paramount Pictures. Location Manager JJ Hook, Location Manager. Daren Hicks, Production Supervisor. They Die By Dawn. Location Manager Jaymes Seymor, Director. Peter Novak, Producer. America’s Most Wanted. STF Productions. Location Manager Miles Perman, Producer. Paranormal Activity The Marked One. Paramount Pictures Location Scout Christopher Landon, Director. Stephenson Crossley, Location Manager. Hayden Lake. Location Manager Ryan Page, Christopher Pomerenke Directors. Linette Shorr, Production Designer. Lacey Leavitt, Producer. Rampart. Lightstream Pictures. Location Manager Oren Moverman, Director. David Wasco Production Designer. Karen Getchell, Production Supervisor. Ben Foster, Lawrence Inglee, Clark Peterson, Ken Kao, Producers. Michael DiFranco and Lila Yacoub Executive Producers. Late Autumn. Location Manager Kim Tae-Yong, Director. Dave Drummond, Co-Location Manager Mischa Jakupcak, Producer. The Details. Key Assistant Location Manager Doug duMas, Location Manager.
    [Show full text]
  • Usc Sca Ctpr 507 Production I -‐ Fall 2011
    USC SCA CTPR 507 PRODUCTION I - FALL 2011 COURSE DESCRIPTION and OUTLINE (Section 18603 – Pollard/KositcHek) 4 units INSTRUCTORS: Cinematography: Robert KositcHek Email: [email protected] Phone: (310) 315-9465 Day/Time: Mon, 2:00 – 5:00 Location: SCA Stage 2 Producing/Directing: StU Pollard Email: [email protected] Phone: (310) 344-9380 Day/Time: Mon/Wed, UsUallY 2:00pM – 5:50pm (see Course Outline below) Location: SCA 362 Office Hours: By AppointMent OnlY SA: Christine Moitoso Phone: (209) 484-7508 Email: [email protected] WitH facUltY gUests: Editing: Reine-Claire Dousarkissian / 310-435-8216 / [email protected] SoUnd: Midge Costin / 310-890-2353 / [email protected] SoUnd: Doug Vaughan / 310-413-9181 / [email protected] Required text book: Voice & Vision, Second Edition: A Creative Approach to Narrative Film and DV Production by Mick Hurbis-Cherrier AtHletic SHoes and long pants MUST be worn to all CineMatograpHY classes USE OF LAPTOPS, CELL PHONES, TABLETS, ETC. NOT ALLOWED DURING CLASS Hello and welcome to 507! There is no better way to learn how to make a picture, than actually going through the process of doing it… Be patient and open to new ideas as you embark on this creative and personal journey of discovery. OVERVIEW: Production I (CTPR 507) is about ideas and your ability to communicate effectively through the language of cinema. It combines introductions to the five major disciplines within the cinematic arts: producing, directing, editing, cinematography, and sound with guided opportunities to create individual and small group projects. Students will make two short HD projects as part of an exploration of visual storytelling, as well as shoot a directing an exercise in the Fundaments of Directing (production students only).
    [Show full text]
  • 1 Reunion Alex Cho Pictures Executive Producer; Thelonius
    Credits- Casting Director Samuel Warren cast established names, experienced & new talent for all media plate forms in many languages within or outside the USA! Contact: 24/7 Cell: 619-264-4135 & email: [email protected]/ Website: www.samuelwarren.com Feature Films: Reunion Alex Cho Pictures Executive Producer; Thelonius Alexander & Directed by Shawn Shao-Wen-Chou Produced by Alex Chou Pictures (Casting Leads) A video clip link for this project; https://www.youtube.com/watch?v=_GjcrOA8npg EVIL DEAD II DE LAURENTIS ENT. Director: Sam Raimi Producer: Robert Tapper Producer: Dino De Laurentis (Casting leads) A video clip link for this project: https://www.youtube.com/watch?v=XPOYmHqWeJE RETURN OF THE KILLER TOMATOES II NEW WORLD ENT. Director: John De Bello Producer: 4 Square Productions (Casting Stars/Leads & over 500 Extras) A video clip link for this project: https://www.youtube.com/watch?v=PShKWD2NKUE KILLER TOMATOES STRIKE BACK! New World Entertainment Inc. / 20th Century Fox Corporation Inc. Director: John De Bello Producer: 4 Square Productions (Casting Leads & Extras) A video clip of this project: https://www.youtube.com/watch?v=oe3l4uJyghU KILLER TOMATOES GO TO FRANCE IV 20TH CENTURY FOX Director: John De Bello Producer: 4 Square Productions (Casting Stars/Leads & Extras) A video Clip of this project: A video clip of this project: https://www.youtube.com/watch?v=YmOvvVcmIdI 1 BLACK BELT ANGELS SILVER BELL FILMS INC. Director: Hyo Chun Kim Producer: Hyo Chun Kim Producer: Kim Augustine Producer: Chin Kim (Casting Leads & 700 Extras from interviewing 1,500 available talent) A video clip of this project: https://www.youtube.com/watch?v=Q3frds4EZzw HAPPY HOUR (Sour Grapes) 4 SQUARE/MOVIE STORE CO.
    [Show full text]
  • Location Listing by Category
    Phoenix Film Office - PRODUCTION LISTINGS Location Scouts Name/Company Phone-1Phone-2 Email/WebSite Service Description Denton Hanna Photography 480-251-5231 [email protected] APA member. Location management and scouting. 25 years in Arizona. Vast knowledge of statewide locations, permitting and production resources. dentonhanna.com Gregg Singer Zing Productions 602-274-6856 602-931-6856 [email protected] Prop master/set dresser. Location scout. AAA Arizona Access 602-254-5499 602-418-2615 [email protected] Location scout specializing in automotive and transportation related. 25+ years experience. Dennis Ranke Absolute Foto Images 602-274-4741 602-213-5916 [email protected] 10 years experience. Location Scouting, production stills, advertising, commercial, documentary, fashion, & landscape (35mm 120mm, 4x5), & digital video production. Robert Wulff Princely Nesadurai Action Adventures 602-996-9847 602-540-4349 Location scouting. Western props & wardrobe, including gattling gun, cannon, buggies, wagons and stage-coaches. Motorcycles. Pat Larkin Alan Benoit Photography 480-967-2241 602-526-1800 [email protected] APA member. Location management, scouting and photographic services om specializing in Arizona and the Southwest. Arizona from A to Zsm. Stock and production photography. Alan Benoit thereelwest.com Christine Benoit Apex Location Services LLC 602-334-1330 602-568-7290 [email protected] APA member. Production, celebrity slide out coaches. Equipped with all your Xoffice Xcell m production needs. Serving the four corner states and southwest for 16 years with set savvy drivers who know how to help your production run smooth. Wireless internet/fax/copy service available. Mike Loughran apexlocations.com Arizona Land Company/Remote 602-225-3737 [email protected] APA member.
    [Show full text]
  • This Chapter Provides Guidance in Relation to the Location of a Production – from Scouting to Pre-Production and Production. Section 5 Locations
    Locations This chapter provides guidance in relation to the location of a production – from scouting to pre-production and production. Section 5 Locations Who needs to read this? While all workers involved in a production have health and safety duties regarding the location of the shoot, roles that have specific responsibilities include the production company representatives, producer, director, production manager, heads of departments, assistant directors, health and safety officers and location manager. What is a location? A location, for the purpose of this chapter, is a place where some or all of a screen production – including film, television shows, documentaries, television commercials or web productions – is produced outside of a studio set (which is dealt with in a separate chapter). Potential locations are usually identified during scouting and then confirmed after consultation with heads of departments regarding workability. The role of a location manager A location manager is responsible for the finding and securing of the location/s to be used, obtaining required permits and coordinating the logistics involved to successfully complete the production. During the scouting process and pre-production, the location manager must take health and safety into consideration, advising directors and/or producers of potential risks when identifying possible locations and taking into account those risks when preparing the site for production. Depending on the size of the production and available resources, there may or may not be a location manager. If there is not a specified location manager, the person/s responsible for scouting and preparing the location/s for the production shoot should follow the guidance in this chapter provided for the location manager.
    [Show full text]