The job of film director involves a number of different roles and tasks. These are outlined below together with details of the equipment and assistance Raina requires to do the job.
“My involvement in a project may begin at the idea or concept stage. As sole writer - or in collaboration with other writers - I develop the initial idea or concept, then treatment, then first draft script. I may be involved in writing the project proposal, and, in these early stages, in pitching the project to a production company, broadcaster or film financing body, in order to generate development finance.”
Equipment:
I read and write using digital tools. I use a standard PC with ‘text to speech’ screen reading software, JAWS, and image magnification software, ZOOMTEXT. I use a 17” minimum flat monitor.
I am currently writing a first draft script using Ian Pegner’s free screenwriting software SCRIPTMAKER.
Communication requirements:
I require written documents in:
• Digital format: e mail, disk or:
• audio format: minidisk, CD, audio cassette
• Large print (24 point bold) (short docs)
I send documents digitally: e mail, disk.
Once the script has been sufficiently developed, and production finance is in place, the script is prepared for filming.
“A 50” interactive plasma screen is at the heart of my operations.”
Equipment:
Raina is setting up a powerful digital IT configuration to collect, record and communicate her ideas:
• interactive 50" plasma screen
• digital whiteboard
• dedicated PC
• flatbed scanner
• colour printer with A3 capability DVD/CD/Minidisk/Audiocassette/Video
players and recorders
“I use the plasma screen as a drawing board, to create tools for the key creative team that will make the film. In this way, I can work on the scale I need to, as a visually impaired person, whilst keeping the producer and the creative team closely in touch with my vision of the film as it develops.”
She aims to use this digital setup to create and produce visual tools for the creative team:
Storyboards
Floor plans
“I need to create a floor plan for each location. To record ideas: set, character choreography, camera movement and angles. By saving the information in separate ‘layers’, I’ll be able to edit each plan as ideas develop and change.”
Shot list
The creative and technical team that will make the film is now assembled:
“I view the work of all potential personnel: cinematographers, sound designers, production designers, editors, composers. This involves interviews and viewing showreels.”
“Once the key creative team is assembled, I discuss my approach approach to the script with them and get their input. We use films and other audio-visual references to communicate and develop ideas.
I use these tools to communicate my ideas to the rest of the team, and in the preparation of budgets and shooting schedules.
Requirements
In my office/studio I have developed a new powerful digital IT configuration to collect, record and communicate ideas:
• interactive 50" plasma screen
• digital whiteboard
• dedicated PC
• flatbed scanner (tbp)
• colour printer with A3 capability (tbp)
• DVD/CD/Minidisk/Audiocassette/Video players and recorders
I draw using the digital whiteboard, saving to disk. In this way I will be able to keep the producer and the creative team closely in touch with my vision of the film as it develops.
VIEWING SHOWREELS
PHOTO: VIEWING SHOWREEL USING PLASMA SCREEN
The large plasma screen is ideal for viewing the work of potential key
‘creative’. Under the director’s creative supervision,
these are the people who will make the film: cinematographer, production
designer, film editor, composer, sound designer.Raina selects each key
creative through a careful process of discussion.
PHOTO: KEY CREATIVE TEAM DISCUSSING THEIR APPOACH TO THE FILM
The key creative team use the PLASMA SCREEN to view other films and audio-visual references (via scanner) to help the exchange of ideas that will go into crafting the film.
recce
health and safety
risk assessment
casting
PHOTO: RH auditioning actor, with video operator in background.
Raina has a video operator present at casting sessions for actors and extras, to record the audition.
PHOTO: RH VIEWING audition material on PLASMA SCREEN
She views the work on her large screen, in order to see what she was not able to see in the audition room eg. facial expressions, nuances of body language.
communicate effectively with a wide variety of people, from technicians to actors; inspire confidence in all production personnel; and respond to and resolve any problems that arise.
PHOTO: RH WORKING WITH ASSISTANT ON SET
At this stage, I require a personal assistant or third assistant director (integrated into the production team). My ‘third’ works with me throughout the shoot to ensure that I have everything I need in order to do my job effectively. Their job is to:
• hold refer to written materials: callsheets,
script pages
• hold and cue up audio/video references
• provide verbal audio-description of new environments
• record video/audio of meetings/recces/interviews
• manage my transport arrangements
• keep receipts and administer financial records
• hold and read my script during rehearsals
• spot me for health and safety
• audio describe cast and crew eg, whereabouts, stage of setup,
performance feedback.
• hold, maintain, set up and safeguard my personal equipment eg.
Laptop, binoculars/scopes, director’s desk
• Where possible, in advance, to ensure Call-sheets, ‘pages’
and ‘sides’ are available to me in digital, audio or large
print format.
• Hold a voice recorder for cast and crew to leave notes and queries
for my response.
• Ensure the camera department has the monitor that I requested./agreed.
PHOTO: RH watching LARGE PLASMA MONITOR
Raina views the rushes at home, planning the edit.
She prepares a set of notes for the film editor
PHOTO: RH WATCHING LARGE MONITOR IN CUTTING ROOM ALONSIDE EDITOR’S DESK
In the cutting room, Raina works alongside the editor. She sits at a separate desk equipped with a 20” minimum monitor and reading lamp. She uses this monitor to view rushes, assemblies, and fine cuts as the film progresses towards ‘picture lock’.