LO5: Be able to edit recorded footage in post-production to create a cinematic quality product

LO5: Be able to edit recorded footage in post-production to create a cinematic quality product

Editing in Post-Production (Effects)

Title Card

I created the title card I wanted to be presented in the short film on Photoshop; it's base source came from the 'Bebas Neu' font applied onto a golden background filled via paint bucket too create a simple colour contrast of white on the 'Old Fashioned' cocktail inspired colour palette. This colour choice was inspired by other (crime) dramas like Killing Eve which transition from a scene of similar colouration into a title card that reflects the very same colour scheme, creating a cinematic transition. I also used the shape tool to turn the apostrophe in 'I'm' into a star to further the theme of 'luck' within the film's visual style.

Credits

Similarly to the title card, the credit sequence I wanted to be comprised of multiple photoshop images edited to fit the style of the film and its climactic ending. As a base source, I used the font 'Ignotum' due to it's conventions within film posters or film credits, especially in the zeitgeist of the 1970/80/90's which the film draws inspiration fro in relation to other 80's media like 'The Big Lebowski'. I then rasterised the type and applied a blood spatter effect with a red splatter tool brush and created a worn down black background effect with the same brush and varying opacity settings. 

Adjustment Layers 

To further the low-key-lighting conventional of crime-drama film, I wanted to make some scenes darker in the final production of the film therefore, I sourced adjustment layers on Premiere Pro and changed their lighting values to create a darker image. I then extended the length of the adjustment layer on the film's timeline as appropriate for each relevant scene.

To edit the colour tones in a scene, I edited the RGB curves to make the central lighting darker and reduced some of the red tones to create a colder image reflective of the dark connotations of the genre.

Vignette

When sourcing the vignette for the short film, I used the circle feature/effect within Premiere Pro and applied stencil alpha onto the adjustment layer the circle was placed upon as my base source for the effect. I then increased the centre and radius of the effect to make the circle larger and feathered the edges to create the illusion of a vignette on screen, with edges that become more opaque as they bleed into the centre of the scene.

Analysis of Post-Production Techniques

Through the inclusion of post-production techniques such as vignettes and adjustment layers, I have been able to create artificially intense, low-key lighting to further the connotations of danger typically elicited by crime drama film. These tense connotations could be furthered by post-production splicing through the use of J-cuts to create frenetic confrontations in character dialogue during their interactions in high-pressure scenes. This meant that sequences of predictability like shot-reverse-shot and traditional conversational maxim (exchanges) could be furthered to create verisimilitude by way of interruption: this helped to create further realistic (and dangerous) undertones for the audience.

Through the exploitation of light, I could manipulate the colours of each shot to create juxtaposing connotations between characters. The way I organised this during filming was to set up the mob boss in a corner isolated from the natural light peering into the scene; his only illumination coming from a tungsten lamp behind him. For the protagonist however, they are depicted in a vulnerable, exposed natural light which, like with the mob boss, could be furthered with cold colour palates in this exposure to further the connotations of danger for the character and juxtaposition in the shot-reverse-shot structure.

Final Film

Note: Final Film suffered a lighting issue due to how the media file was exported in Premiere Pro creating overly bright imagery and vivid (red) midtones in a couple scenes

LO4: Be able to record cinematic quality footage

LO4: Be able to record cinematic quality footage

Media Influences

The Big Lebowski

The characterisation of the characters within the short film was inspired by The Big Lebowski and some shot types such as a transitioning/panning shallow depth of field to give focus to the object of the shot. The object then creating a parallel with the object to the character. 

I took influence from this shallow depth of field and its characterisation by planning a panning shot that changes the camera's focus as it pans towards the protagonist; in this case, rather than the iconography of a bowling ball, it's a pint of beer.

I want to further a similar characterisation with  the assistance of practical effects to parallel The Big Lebowski and it's iconic 'White Russian' cocktail. I want to use tungsten lighting however, to differentiate the shots and resemble the golden colour palette of the (Old Fashioned) cocktail the film's protagonist would make. I wanted to further this with extravagant props and the appropriate close-ups to convey them; juxtaposing the protagonist's lethargic demeanour with exaggerated props.

Reservoir Dogs

During conversation between character dialogue, I want shot types and cuts, such as shot-reverse-shot sequences to create a similar effect to the dialogue interchanges within Reservoir Dogs, partly due to its similar genre. The ambient day-lighting also furthers verisimilitude for the situation rather than a stereotypically dark shot which is something I'd like to consider contextually in the production of the film.

Using over the shoulder shots to signify which character is talking to who and immersing the audience into the listener's perspective as a specified individual takes centre stage in the conversation: in Reservoir Dogs case, this is Mr. Pink; in the case of the short film, this would be the protagonist during his meeting with the mob boss. However, to create tension and characterisation between the two, I would use primarily low angle shots of the mob boss to signify his power in the situation.

Rushes

Scene 1 - Character Introductions

Before

After

I wanted to create a parallel montage in how the other mysterious mob member and the film's protagonist: between the offline and post-production edits, I created adjustment layers with varying extents of low-key lighting applied to their respective footage. In application, this gave more emphasis to mid-tone shadows in the first (mob member) montage to create and further the motif of mysterious or dangerous connotations applied onto these gangsters. The higher exposure and emphasis on contrast applied to the protagonist however, juxtaposed this with a greater emphasis on high-key lighting to reflect the good-nature of the character in contrast to the others in the scene. In comparison to before editing, the shots were similar in lighting and therefore, characterisation, so this lighting change to create these conflicting connotations was necessary. 

Scene 1 - Mob Boss Meeting

Before

After

After some post-production editing, the shots to introduce the Mob Boss had their lighting changed to create darker tones within the picture to further connotations of mystery or unease when he's on screen. I wanted this to juxtapose the protagonist who was exposed by natural lighting allowing for a binary opposition (Levi Strauss 1958) to take place between the characters and their contrasting high and low-key lighting. I achieved this by applying a vignette and adjusting colour tones via adjustment layer in Premiere Pro.

Scene 6 - Car Argument

Before

After

For this scene, I wanted to alter the lighting with an adjustment layer that would further the contrast of the image with colour key controls and give a more vivid impression of dusk; blurring the background further to give more focus to the close-up of the protagonist. This allowed me to artificially increase the aperture of the shot. This created a more cinematic picture with deeper contrast. 

Scene 5 - Drug Bag 

Before

After

To further the gritty connotations of the crime drama genre, I used further contrast techniques following lighting rushes to create exposures of shadow in this scene; creating a cinematic, gritty appearance to the image.

Rushes Meeting Conventions

The rushes I have outlined follow the plans for camerawork and lighting as highlighted in each individual scene. Examples such as scene 1 and 7 with their high-tension connotations and juxtaposing character dynamics, are highlighted in the rushes with low-key lighting conventional of other crime-dramas like Reservoir Dogs. This is evident in both storyboard planning and footage with juxtaposing shades of low-key lighting (exposure against darkness) and shallow depths of field to create cinematic shots of characterization. 

Further examples in relation to other influential media, like The Big Lebowski, can be seen in camerawork and lighting in scene 2 through conventional montage sequence progression. The effect of the scene's tungsten lighting and how it floods the character's home creates connotations of isolation with no daylight to be seen, which are then furthered by the flamboyant tracking camera shots that follow the creation of a cocktail. The camera finally pans outward on the man collapsed on a sofa, exposed without a care in the sanctity of his home. This is juxtaposed however, by an over-the-shoulder camera shot to introduce Giovanni as the mysterious friend to Custeau, the protagonist and establish how their relationship functions by hidden exploitation. This matches the tone set by the storyboard's introduction of the characters as Custeau is characterized by the actions of his daily life through a flamboyant montage and body language for a drab action. This parallels the kind of introduction through a panning wide-shot of 'The Dude' in The Big Lebowski as he is characterized in the same way. This scene did change however, from the planned storyboard to further differentiation from the two media as Custeau's original montage was within a supermarket and his conversation with Giovanni occurred over the phone in his car.

Another example which  followed drama conventions influenced by inspiratory media was the shot-reverse-shot, close-up structure between Custeau and Giovanni within the film: this was made in parallel to the similar sequence in The Big Lebowski to signify the tension of the situation (through close-ups) juxtaposed by the intimate, long-time relationships and facial languages of the characters. This followed the planned sequence of the storyboard.

The shots I created for these two sequences where the protagonist is introduced to the mob boss and other gangster followed conventions akin to media influences like Reservoir Dogs. Evident in the first shot which followed planned storyboard shot-types of a shallow depth of field panning shot (low angle), an intimate and isolating shot juxtaposes the protagonist against the gangsters. This is then conveyed in a wide shot where the protagonist's position in the shot's centre, furthest away from the camera as the other two stare at him in contrasting, formal costumes. 

I juxtaposed this wide-shot with isolating shots of each character and a challenge of conventions of power representation in the scene to convey the point of the narrative. A shot-reverse-shot creates an eyeline match between a low angle of Custeau and a high-angle of the Mob Member. What follows is another low angle of the Mob Boss who tells the gangster to leave. This use of camera angles, as planned with the storyboard, furthered by the editing of a shot-reverse-shot, eyeline match, signifies who is really in charge of the scene as the Mob Boss controls the total presence between characters in his juxtaposing traditional camera angle and connotations of power.

Overall, the rushes for the film followed the conventions of the crime drama genre through stereotypes (of Mis-En-Scene) like formally dressed gangsters and sketchy bars for interrogative meet-ups with shot types that further the connotations of those stereotypes. These would include shots with low angles and low-key lighting set-ups. This is furthered by post-production editing on the rushes, and the  stereotypes which are challenged so that they can be subsequently reinforce the characterisation of intimidating and controlling characters.

 

Planned editing structures like shot-reverse-shots further this characterisation in combination with shot-types like close-ups that signify the intense intimacy of grittiness or character relationships in the crime drama genre. This kind of characterisation is something taken from my media influences and the representation of stereotypes (of power) in The Big Lebowski and Reservoir Dogs.

Aperture

For my aperture values, I'm going to use a value of F16 due to the natural lighting of my outdoor scenes to create verisimilitude and cinematic picture quality in those outdoor shots. However, for my indoor lighting scenes, I planned to use a larger aperture value to create further contrast in the image and use low-key lighting to create connotations of tension within those scenes. Therefore, an aperture value of  F1.8 would be appropriate. This is because a bigger lens (aperture size) is needed to capture more light in a darker location. 

Shutter Speed 

To create cinematic picture quality which is consistent throughout the film, I'd use a shutter speed setting of 1/250. 

Lighting & Camerawork Notes

Scene 1

Camera: Shallow depth of field with F4 (low) Aperture and focus change, high shutter speed, ISO 800 due to daylight tones but indoor imagery

Lighting: Low-key with natural daylight and artificial tungsten lighting: focus on tungsten lighting when depicting Mob Boss and daylight when showing Custeau/protagonist

Scene 2

Camera: Shallow depth of field with F4 (low) Aperture, high shutter speed, ISO 1500 due to indoor, low-key artificial tungsten lighting

Lighting: Low-key artificial tungsten lighting

Scene 3

Camera: Deep depth of field with F20 (high) Aperture, high shutter speed, ISO 200 due to outdoor natural lighting

Lighting: High-key natural outdoor lighting

Scene 4

Camera: Deep depth of field with F20 (high) Aperture, high shutter speed, ISO 200 due to outdoor natural lighting

Lighting: High-key natural outdoor lighting

Scene 5

Camera: Deep depth of field with F20 (high) Aperture, high shutter speed, ISO 200 due to outdoor natural lighting

Lighting: High-key natural outdoor lighting

Scene 6

Camera: Deep depth of field with F20 (high) Aperture, high shutter speed, ISO 200 due to outdoor natural lighting

Lighting: High-key natural outdoor lighting

Scene 7

Camera: Shallow depth of field with F4 (low) Aperture and focus change, high shutter speed, ISO 800 due to daylight tones but indoor imagery: focus on tungsten lighting when depicting Mob Boss and daylight when showing Custeau/protagonist

Lighting: Low-key with natural daylight and artificial tungsten lighting

Scene 8

Camera: Shallow depth of field with F4 (low) Aperture and focus change, high shutter speed, ISO 500 due to daylight tones

Lighting: Low-key evening outdoor lighting

Evidence of Setting Up Camera Equipment

Camera

Setting up Camera & Tripod for Scene 2 Montage Sequence

Lighting

Use of Artificial Tungsten Lighting With On-Hand Equipment (Scene 2) And Limiting Natural Sunlight in The Scene

Altering height of tripod to achieve a low angle effect and limiting the exposure of natural sunlight to create dusk-like low-key lighting 

Using a free-hand camera without the tripod to achieve a low angle close up for a cut during a short montage sequence

LO3: Be able to plan the recording of a cinematic quality scene

LO3: Be able to plan the recording of a cinematic quality scene

Treatment

Working Title:

I'm So Lucky

Genre:

Mob/crime drama (sub-genre with subtle elements of comedy). This will be explored via the representation of a mob group which the protagonist becomes wrapped up in; incidentally uncovering their drugs operation and meeting with the head of the family in a shady bar.

Synopsis: 

Inspired by other movies of similar genres such as The Big Lebowski, True Romance and Baby Driver: I'm So Lucky (working title) features the protagonist, Mr. Custeau who is an unemployed, run-down man with shabby hair and an atrociously lazy dress-sense which is only challenged by his unequivocally horrendous luck. He enters a derelict bar on a dark evening for a meeting with the shady 'man in the corner' who's just finished a meeting with another, sharply dressed and mysterious man. Audiences discover, as when Custeau sits down, the 'man in the corner' is holding a gun under the table directly toward Mr. Custeau. He explains the situation and asks Mr. Custeau if he sees himself as a lucky man. Custeau replies; the man asks him if he felt lucky when Custeau incidentally discovered 5 pounds of the man's cocaine. Subsequently, the shot cuts to the past where the plot shows how Custeau unveiled this crime boss' operation. Custeau, meets with his friend Giovanni who wants a ride to an unclear location for an unclear reason; this results in his friend taking him to a drug deal. Events go awry leading to the discovery of a drug case and an old phone next to it and Custeau & Giovanni are forced to take them.  Later, the two return to Giovanni's place as they discuss what to do. Custeau is asked specifically to meet at a derelict bar. Where the scene cuts back to where the short film began. Out in the dark, Custeau takes the 'Man in The Corner' to his car where the case is. However, whilst they're walking the sound of a (silenced) gunshot plays, the 'Man' stops, Custeau stands in front of him and asks if he's ok where he then falls to the ground, dead. The film ends on a cliffhanger with a wide shot of Custeau looking around in fear and disparagement which cuts to a close up of him looking to the camera and saying "I'm-" where 'I'm So Lucky appears on a black screen in another cut with another pistol sound effect. 

Cast (Main):

• Mr. Custeau - Jake Buxton
• Man in The Corner/Mob Boss - Richard Longden
• Giovanni - Wojciech Kowalski

Cast (Extras):

• Bartender - Andrew Clements
• Women at bar - Terry Clements & Michelle Longden
• Other Mob Member - Oliver Clements
• Drug Dealer - Harry Gibson

Crew:

• Camera Operator - Carlos Ionescu
• Sound Supervisor/Recorder - Carlos Ionescu
• Editor - Oliver Clements
• Script-writer - Oliver Clements
• Costume Artist - Oliver Clements
• Location Recce/Planner - Oliver Clements

Locations:

• The West End Pub
• Actor's House
• Killamarsh Train Tracks

Props:

• BB/pellet fake handgun
• Fake cigarette/joint
• Sandwich/various groceries

Costume:

• Mr. Custeau - Crocs/sliders, shorts, tank top, dressing gown
• Giovanni - White shirt, jeans/trousers, chain necklace, trainers
•  Man in The Corner - Suit, brogues
• Other Mob Member - Suit, brogues
• Bartender - Shirt, apron, jeans
• Women at bar - Dresses, jackets and shirts
• Drug Dealer/Jackie - Oversized t-shirt and trousers, chain necklace

Equipment:

• Camera
• Tripod
• Clip-on Wireless Microphones
• Car (Volkswagen Polo)
• Computer (with Adobe Premiere Pro for editing)

Storyboards

(Storyboard Scene 2 changed to what is highlighted in script)

(1)

(2)

(3)

(4)

(5)

Set Design Plan

Annotated Script

Scene 1

INT. The West End Pub

Low-key smoky/tungsten lighting

Light chatting from everyone around (nothing much about nothing) and the tenuous shaking of a couple cocktails for the girls at the bar (low angle medium full shot of the two laughing and smiling at nothing in particular). 

A hand from the corner of a shady side room to the bartender (close up of the hand raising). ‘Two more please’. The hand gives a conceiting smile (medium close up). A chime rings as the rotten door creaks open (low angle).  

A well-dressed man. (Cuts to each article of clothing) shoes: black and polished to a tee (close up). Trousers, suitably black (medium close up). A simple navy waistcoat; a well-adorned handkerchief in the pocket (close up). White shirt (close up), what else could it be? A clean, black coat with a nice lapel (cut from medium close up to close up of lapel). Face, shaved, recent (close up). Hair, rugged but styled; lengthy (close up). Eccentric.  

The hand speaks again (full shot of the shady man in the corner beckoning). (extreme-close up of the man by the door’s eyes cuts to a full shot) He nods. (Over the shoulder shot of the man walking toward the corner). The bartender shares his suspicions but finishes his work (low angle medium shot). The tension between these two is so thick you couldn’t even cut it with a diamond sword. 

Man in the corner 

'Please.'

(waves the man to sit down)) 

Bartender 

'Your drinks sirs.'

(Bartender walks to table)  

Other man 

'Thank you. Why me?' 

(looks toward Mob Boss)

Man in the corner 

‘It’s a simple matter.’ 

(Wide shot of the men sitting across from each other, ‘the man in the corner’ takes a sip from his drink as he vacantly looks toward him)  

Man in the corner 

‘Not for you though’ 

(shot cuts to an over-the-shoulder shot from the ‘other man’s perspective as he speaks) 

The chime rings again. Tensions in the bar are elated. The gentle creaking of the door solemnly echoes to the corner of the room. The two girls by the bar stare, intently (two shot, medium shot from their side, twirling their straws in their drinks and smiling). A beastly figure. Maybe in his 30’s? 40’s? Early 50’s? No one could tell. (Wide shot of a shadowy silhouette). (Same close-up sequence as with the ‘other man’) cathartic in appearance: beige and orange crocs, legs exposed with only a fleeting pair of shorts to cover them. A tank top that drooled and slumped down the man’s lethargic body; grotesque sweat stains pouring over his chest as if he’d just vomited in the outside carpark. A lavish black coat that could also be mistaken for a pricy bath robe. Stubble coated the man’s face and neck like a pox atop a boar’s hide. His nose was overtly red and swollen, as if he’d been punched in it every single day of his life. Eyebags drooping behind a thin pair of aviators and unruly hair that writhed across his scalp; strands matted to his sopping forehead as if they’d been glued there.  

He lumbers over to the corner, nodding to the bartender and signalling for a drink (he starts walking forward in a wide shot that cuts to a medium shot of the disparaged bartender, tracking low-angle medium close up from what be the point of view of his armpit as he signals). The man steps boorishly toward the ‘man in the corner’.  

(Low angle of the drink on the ‘other man’s’ side of the table as depth of field changes to show the boorish man looking down at it lowering his sunglasses with mouth agape and eyes blinking to adjust to what he’s seeing). 

The man in the corner 

‘Mr. Custeau.’ 

(medium shot of him looking toward Mr. Custeau, smiling) 

Mr. Custeau 

‘You know me? Oh man, you already got me a drink?' 

(Cut back to low angle from drink’s perspective, shot cuts to a high angle of the ‘other man’ looking up at Mr, Custeau with a fake smile on his face) 

‘Oh, shoot, sorry man, is this yours? Sorry I just blanked you.’ 

(shot cuts to a low angle from the ‘other man’s’ perspective of Mr. Custeau, shot cuts to a two shot of them with Mr. Custeau reaching his arm out for a handshake)

Other man 

‘No worries.’

(He says lightly, clearing his throat and readjusting himself, perturbed, medium shot him reaching to shake Custeau’s hand)

Mr. Custeau 

‘You two in... the middle of something or...I can go order a drink and wait if that works?’ 

(Medium close-up of Custeau gesturing with his hands whether he should leave) 

Other man 

‘Yes. Should we get back to it...?’ 

(Medium close-up of the man indicating with his hands that they should move on)

Man in the corner 

‘No, I believe I’ve learned everything I need from you. We’ll be in touch.’ 

(Medium close-ups of him and the ‘other man’ which cut intermittently between each other, the ‘man in the corner’ waving his hand to the ‘other man’ as the ‘other man’ expresses a concerned and sad look) 

Mr. Custeau 

‘Damn, little harsh?’ 

(Medium close-up low angle of Mr. Custeau as he looks back at the ‘other man’ leaving the bar, shot cuts to a medium close-up of ‘The man in the corner’ turning his head to Mr. Custeau in confusion, raising his eyebrow slightly) 

‘Buy the man a drink and don’t even let him finish.’ 

(Shot reverse shot between them as the man’s face becomes serious and tense) 

Man in the corner 

‘Under this table, pointed directly toward your nether region’ 

(Shot cuts to a medium close-up of the table as it pans downwards from the top of the table to a shot of Mr. Custeau’s legs, the man’s hands and a handgun being cocked in them, audible click as he does so) 

‘is a P226 pistol... Now, may we get to business?’ 

Mr. Custeau 

‘Shoot.’ 

(He says not realizing the poor choice of words)

Man in the corner 

‘Do you consider yourself a lucky man, Mr Custeau?’ 

(Close up of the man laughing/exhaling through his nose and lifting his eyebrows, shot cuts to a close-up of Mr. Custeau cluelessly smiling and nodding back)

Mr. Custeau 

‘Right now not really.’ 

(His face in dishevelled amazement and horror). 

Man in the corner 

‘Did you feel lucky when you happened to somehow incidentally find 5 pounds of fine cocaine!’ 

(Low angle as he stands up and slams his fist on the table as he speaks) 

EXT. West End Pub

Scene 2

INT. Custeau's House

Low key tungsten lighting

Mr. Custeau 

‘Five pounds!?’

(The shot then cuts to a full shot of Mr. Custeau sitting at home looking at a cheap bottle of bourbon. The shot cuts to the other side of Mr. Custeau as he gets up in the direction of the camera. ‘I'm Coming Home to Stay’ by Fleetwood starts playing as he makes a cocktail with the bourbon, the shot freezing and the title ‘I’m So Lucky’ appears on screen in sync with the start of the music; shot and freeze frame end as the song continues) 

(Short montage sequence ends as Mr. Custeau sits on his sofa, medium shot from the perspective of Custeau as he sits down, disgruntled; the music stops as he lays down. As he sits, dejected, his phone rings. Mr. Custeau picks up his phone, eyeline match sequence cutting from a low angle close up of Mr. Custeau holding the phone/camera, then to an over the shoulder shot of him looking at the phone with ‘Giovanni’ and a picture of him and Custeau together; Custeau presses answer and raises the phone to his ear as the shot cuts closer to his face)

‘Hello?’

Giovanni 

‘Yo, you busy?’

(Shot cuts to a medium shot of Giovanni in his house, holding the phone to his ear)

Mr. Custeau 

‘No not really.’

(Shot cuts back to Custeau taking a sip of his cocktail) 

Giovanni 

‘Think you can give me a ride?’

(Shot back to Giovanni) 

Mr. Custeau 

‘Uh... ‘Yeah sure.’

(Custeau says disgruntled, the shot returns to him, wiping his eyes in slight annoyance as he forces himself up) 

Giovanni 

‘Aight thanks man.’

(The shot stays on Custeau as the phone hangs up) 

Mr. Custeau 

‘You’re welcome.’

(He says sighing throwing his arms up, throwing his phone in front of him, getting up and walking out of shot) 

EXT. Custeau's House

Scene 3

INT. Giovanni's Home

Daylight/natural lighting

Full shot of Giovanni’s door from the inside of the house, Custeau knocks on the other side and Giovanni comes past the camera to open it. Shot cuts to a low angle from the outside of the house to create a full shot of Custeau standing as Giovanni comes outside, shutting the door; the two engage in a secret handshake and walk toward the camera. 

(Over the shoulder shot of Custeau walking to the driver’s side of the car and Giovanni walks ahead to the passenger side as Custeau stops him whilst Giovanni is opening the door. He leans on the door as they speak.) 

Mr. Custeau 

‘Where am I even taking ya’?’ 

Giovanni 

‘Just drive where I tell you to.’

(He says while raising his arm up to Custeau in slight annoyance) 

EXT. Giovanni's Home

Scene 4

INT. Rural Sideroad

Daylight/natural lighting

Close up of Custeau’s foot climbing into the car and the door shutting which acts as a jump cut between locations, arriving at an undisclosed rural setting in the woods. Medium shot of the side of the car of Custeau getting out the car looking concerned and confused, looking to his right at Giovanni who’s off camera. 

Mr. Custeau 

‘Where are we going? I can’t just leave my ride here.’ 

(Shot pans to Giovanni exiting the car) 

Giovanni 

‘Just leave it here a while, not be long.’ 

 (Shot pans back to Custeau who raises his hands in the air in annoyance, his face aggrieved looking to the camera’s direction. Shot cuts to a medium close up of Giovanni looking at Custeau over the roof of the car; resting his hand on it as he speaks)  

‘Please?’ 

(Shot cuts to Giovanni’s perspective from the car roof of Custeau, putting his arms back down, turning to him; shaking his head gently and sighing, looking to the distance again for a few seconds and back to the camera/Giovanni.) 

Mr. Custeau 

‘Fine.’ 

Giovanni 

(Shot cuts back to a medium close up of Giovanni tapping his hand on the top of the car smiling at Custeau; walking off) 

‘Follow me.’ 

EXT. Rural Sideroad

Scene 5

INT. Killamarsh Train Tracks

Daylight/natural lighting

Medium close up (low angle) of Giovanni walking with Custeau following behind. Custeau looks around warily. The shot cuts to them stood atop an industrial staircase (low angle wide shot)

Mr. Custeau 

‘Why are you being so mysterious about this man?’  

(Custeau says whilst still standing behind Giovanni, he looks at him and walks down the stairs toward the camera)

Panning shot with ‘Crush With Eyeliner’ playing diegetically, subtly, in the background through wired headphones. The shot pans around a tree which reveals a man sitting, smoking, nodding his head rhythmically the music. The shot cuts again to a low angle close-up of the miscreant, listening to the music, eyes closed.) 

Giovanni 

(Moving his head closer and closer into frame, then almost in the man’s ear)  

‘Wake up!’ 

Jackie 

(Jumping up almost immediately) 

‘Jesus Christ!’ 

Giovanni 

(Low-angle full shot of him standing up over Jackie, Custeau stood behind like a child to their parent) 

‘No, just me.’ 

Jackie 

(Medium high-angle of Jackie readjusting himself, still sat on the floor, he speaks still recovering from the scare, obviously stoned. Shot reverse-shot sequence) 

‘Gio, man... Who's this?’ 

(Exclaiming)

Giovanni 

(holding his arm around Custeau and shaking him)

‘This Jackie... is the guy whose gonna make a delivery for us’. 

Mr. Custeau 

‘Woah, no way! I know where this goes.’ 

(Pulling himself away from Giovanni, annoyed) 

Giovanni 

‘Come on dude, its nothing... illegal. Right?’

(He says looking toward Jackie; his eyes conveying they both know it is)

‘I’ve got a doctors appointment next Friday and there’s a guy me and Jack owe some stuff to so I can’t make it.’ 

Mr. Custeau 

(Close-up of his face, aggravated and confused) 

‘Why can’t he do it? It’s got nothing to do with me!’  

Giovanni 

(Shot reverse-shot between Custeau and Giovanni, shot cuts to Jackie sitting, taking a puff of his cigarette and spluttering while they talk) 

‘Look at him. I trust you, you’ll be fine.’

(He says while smiling at Custeau, as he smiles a gunshot can be heard in the distance, shot cuts to Jackie sprinting up and grabbing a case. CUT TO. Medium shot of Giovanni and Custeau from their sides, both scared) 

‘The hell was that Jackie!’ 

(Jackie thrusts the case into Custeau’s arms) 

Jackie 

‘I can’t let them find me!’

(Jackie runs off screen, terrified)

EXT. Killamarsh Train Tracks

Scene 6

INT. Rural Sideroad

Daylight/natural lighting

medium shot of Custeau and Giovanni in the car, the case on Giovanni’s lap, both of them have blank, tired expressions as they look straight forward for a few seconds of silence 

Mr. Custeau 

(Throwing his arms around) 

‘The hell was that Giovanni!’ 

Giovanni 

‘How was I supposed to know what was going to happen!’ 

(They sit for a few more seconds to calm down) 

‘I’ll give you £100 if you take it.’ 

Mr. Custeau 

(Medium close up of Custeau turning his head to look at Giovanni) 

‘You’re kidding.’ 

Giovanni 

(CUT TO. Giovanni) - Shot reverse shot

‘That bar on West Street.’ 

(Taking a little bag out of his pocket filled with a white, powdered substance) 

‘Just before you go, take this and you’ll be fine, nothing to worry about...’

(He gets interrupted by Custeau) 

Mr. Custeau 

(CUT TO. Custeau) - Shot reverse shot

‘No!’ 

Giovanni 

(CUT TO. Giovanni Pouting at Custeau) 

‘Come on bro.’ 

(CUT TO. Custeau in disbelief and switches between Giovanni and Custeau as they interchange) 

(CUT TO. Giovanni)

‘Come on dude.’ 

(CUT TO. Custeau: Custeau looks at him) 

(CUT TO. Giovanni)

‘Come on man.’ 

(CUT TO. Custeau: Custeau becomes progressively calmer and entertained)

(CUT TO. Giovanni) 

‘Hundred quid.’ 

(CUT TO. Custeau: Custeau looks again) 

(CUT TO. Giovanni)

‘Please man I do-’ 

(Shot cuts back to Custeau suddenly as Giovanni is interrupted) 

Mr Custeau 

‘Give me the god damn bag’. 

EXT. Rural Roadside

Scene 7

INT. West End Pub

Low-key smoky/tungsten lighting

(Custeau back in the bar)

Mr Custeau 

‘No...’

(He says in fear. Shot reverse shot of a medium close up of Custeau and medium shot of The Man)

Man in the Corner 

(Readjusting himself and sitting back down) 

‘Did you bring it back to me?’ 

Mr. Custeau 

(He says putting his arm over the back of the chair) 

‘Yeah, its out back, god damn.’ 

EXT. West End Pub

Scene 8

INT. West End Car Park Alley

Natural/dusk lighting

(CUT TO. a tracking shot of Custeau and The Man walking out the bar entrance, gun pointed at Custeau’s back, as they walk a silenced pistol effect plays and they stop walking; as they stop walking, Custeau turns around with his arms held up to reason. This is where he notices, via over the shoulder shot, The Man, paralysed, eyes wide open) 

Mr. Custeau 

‘You ok man?’ 

(After a second, Custeau realises what happened and moves to the side to avoid the man falling on him in a medium close up. Custeau moves around, his head turning in every direction with a wide shot of him in the open) 

‘I’m-’ 

(An audible gunshot plays as the screen cuts to black with the logo ‘I’m So Lucky’ appears once more) 

Plan for Lighting & Camerawork

Risk Assessment

Production name:

Short Film: I’m So Lucky

Location

The West End Pub

Contact information

18clementso@utcsheffield.org.uk

 

Risk	Likelihood	Consequences	Level of Risk	Pre-emptive	Response
Uneven Surfaces/wet floors	Somewhat likely	Small Injury, damage to equipment	Low	Be careful of footing and ensure floors are dry	First aid on hand
Strangers stealing/damaging equipment	Unlikely	Loss of equipment	Low	Keep Equipment in a secure place	Contact 999 or pub owner or consultation with accusant

Production name:

Short Film: I’m So Lucky

Location

Actor's home (Killamarsh)

Contact information

18clementso@utcsheffield.org.uk

 

Risk	Likelihood	Consequences	Level of Risk	Pre-emptive	Response
Uneven Surfaces/wet floors	Somewhat likely	Small Injury, damage to equipment	Low	Be careful of footing and ensure floors are dry	First aid on hand
Loose Wires	Likely	Falling - injury	low	Move wires away from filming location; tape them down	First aid on hand
Crew/Cast Allergen Exposure	Unlikely	Allergic Reaction (could lead to hospitalization)	Low	Check allergies of crew involved	First aid on hand/contact store manager/staff

Production name:

Short Film: I’m So Lucky

Location

Train Tracks (Killamarsh)

Contact information

18clementso@utcsheffield.org.uk

 

Risk	Likelihood	Consequences	Level of Risk	Pre-emptive	Response
Uneven Surfaces (especially if by rails)	Somewhat likely	Small-serious Injury, damage to equipment	Low	Be careful of footing, stay away from tracks	First aid on hand
Oncoming trains	Very Likely	Fatal Injury dependent on situation; if away from tracks, potential ear damage from loud noises	Moderate	Stay away from tracks, especially when hearing a train approaching	Contact 999/Emergency Services

Location Recce/Release

Location Reconnoitre and Survey 

 

Location name:  The West End Pub 

 

Date:  9/10/24 

 

Survey time:  1 Hour 

 

Address:  Westthorpe Road, Killamarsh, Sheffield 

 

Contact:  0114 248 7871 

                              

Interior   

 

Available power:  Y 

Natural light:  Y 

Doors & windows:  Y 

 

Logistics 

 

Transport:  Y 

Permits:  Y 

Facilities:  Y 

 

Exterior   

 

Weather:  N/A 

Light:  Y 

 

Sound:  Subtle ambience of chat throughout the pub & the diegetic sound of (traditional/old) Italian music (included via post-production). 

 

Notes: A potential issue could be disturbing other patrons or them interrupting filming (disruptive background noise) however, if filmed on a quiet (weekday) night, this can be avoided. 

 

Location name:  Killamarsh Train Tracks 

 

Date:  12/10/24 

 

Survey time:  30 minutes 

 

Address:  Killamarsh, Sheffield 

 

Contact:  N/A 

                              

Interior   

 

Available power:  N 

Natural light:  Y 

Doors & windows:  N 

 

Logistics 

 

Transport:  Y 

Permits:  Y 

Facilities:  Y 

 

Exterior   

 

Weather:  Sunny or Cloudy (not raining) 

Light:  Y 

 

Sound: Diegetic sound effects of gunshots which will be inputted via post-production  

 

Notes: A potential issue could be trains running through whilst filming however, this is easily avoided through completing shots in the vast time between trains passing through.  

 

Location name:  Actor’s House 

 

Date:  13/10/24 

 

Survey time:  30 minutes 

 

Address: Killamarsh, Sheffield 

 

Contact:  N/A 

                              

Interior   

 

Available power:  Y 

Natural light:  Y 

Doors & windows:  Y 

 

Logistics 

 

Transport:  Y 

Permits:  Y 

Facilities:  Y 

 

Exterior   

 

Weather:  Sunny or Cloudy (not raining) 

Light:  Y 

 

Sound: Diegetic (but emphasised in post) sound of Giovanni/actor on the phone & car ignition 

 

Notes: To avoid recording any other shoppers who do not want their image in the product, an ideal time to film would be during quiet hours/days such as 9am (record low) on a weekday.