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Task 2 - Peer Feedback & my final Reflection.

We were asked to collect comments on our performance and input to the production process from the people that we worked with. I've received a number of replies from various crew & art department members (including BAFT & BALET students).

Andrea Milla Perez (Humdrum's Director):

"Andrea Milla Perez To Aleksandra Puszczewicz, Mar 10 at 10:23 AM

Dear Aleksandra,

You proposed excellent creative ideas and made sure they were delivered efficiently. Therefore, communication with you was very easy and effective. About what could be improved, I realise having an organized separate schedule for each of the projects you are working on is really helpful in order to make sure there is no confusion between meeting times and the complete process. The only weakness I can think of is the fact that you were unable to attend the last Art Department meetings we held. It would have been very valuable for us to receive your feedback on the process of finalising the production design. However, this was due to the fact the you were sick during those days and still you let the producer and myself know about this beforehand, offering to be contacted at any time if needed. Overall, it has been a pleasure to work with you in this project so thank you very much.

All the best,

Andrea"

Simone Hendry (Humdrum's Producer):

"Andree Hendry To Aleksandra Puszczewicz, Mar 11 at 12:02 PM

Hi

I have ben asked by some students to give feedback. You may not have asked for it although I can not remember who did and who didn't so I am sending feedback to you all individually.

Aleksandra was confident leading up to the shooting day Aleksandra and completed her role. As producer of Humdrum I was happy to have Aleksandra as a member of our team.

Warmest Regards"

Tuesdy George (Humdrum's Set Dresser):

"Tuesdy George To Aleksandra Puszczewicz, Mar 13 at 12:12 AM

Aleksandra is great to work with. She always had the work in on time

And is clearly very competent in her technical an artistic

Skill! She is professional, reliable and a worthy member of any group. I would like to work with her again."

Norman Tamkivi (Blood Red Meat's Director):

"Norman Tamkivi To Aleksandra Puszczewicz, Mar 13 at 12:28 AM

I was extremely happy with Alexandra's work, we had all the numerous props we needed and the set looked amazing. Communication with her was great as well, she was hard-working and had a very helpful attitude. She did a truly outstanding job!

  Norman"

Jonas Rotne (Blood Red Meat's Props Maker):

"Jonas Rotne To Aleksandra Puszczewicz, Mar 11 at 11:23 PM

Peer Feedback / Aleksandra Puszczewicz Role: Props master I worked together with Aleksandra in Ben and Normans film. Aleksandra and I had a good communication. Aleksandra did a great job sourcing the props for our set. We had a huge amount of props that needed to be sourced and Aleksandra was good at updating the sourcesheet so the rest of the crew could follow and help with the progress.   Good job :) Best Regards Jonas Rotne"

***

Overall, I'm very happy with the feedback I have received. It definitely helped me to understand what my strengths are, and what are the things I should improve.

Peer feedback allowed me to reflect in-depth on my performance throughout 'The House Project'.

At last, 'The House Project' was both a great experience and a massive opportunity to gain a number of transferrable skills. I've definitely learnt a lot and I'm glad I could be a part of such a great challenge!

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Set Strike/ Props & Costume Returns

Set strike is the process of dismantling, storing or discarding the materials used in the production.

For health & safety reasons all tools were stored in one place - 'Tool Table'.

We had to make sure that all nails were removed from walls/flooring as they are very hazardous on the set.

Everyone was working collaboratively! It was a great teamwork experience! 

All Props Masters had to clear out the props cupboard and sort out all the props in order to make returns.

After sorting out the props/costumes we went to ALRA to return all items that we borrowed. We have also donated some items which we couldn't store at LCC.

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Set Change Rehearsal & An Actual Set Change Day.

Set Change - the rehearsal:

Only the construction team & set decorators were taking part in this challenge. We had to place new flats covered in a different wallpaper, change the floor and adjust the fireplace.

Our first task was to make sure that we know the exact position of all the items on the set in order to place everything back as it was before the set's change rehearsal. That's because on the next day another film was scheduled to shoot.

Everything had to be labelled properly!

At first there were some issues like placing the picture rails upside down, therefore we had to make sure that everyone knew what was their right position. 

In order to put everything to its original place, we used masking tape to mark the exact location of an item.

It was a very good experience. We could practice working collaboratively because otherwise we wouldn't manage to make the set's change happen. Also, we were challenged to do everything in a limited amount of time.

Set Change Day:

Overall, the set's change went very well. It wasn't as hectic as the rehearsal because we actually knew what and how we were doing. Everyone knew what the task was, everyone could focus on one's part.

As a Set Decorator, I was in charge of wallpapering process, I had to line up the pattern and cut the wallpaper accordingly in order to cover the seams and some imperfections. 

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BLOOD RED MEAT - Filming Day & Set Strike.

The Blood Red Meat's Director, Norman Tamkivi (on the screen) was driving creative force in a film's production, and acted as the crucial link between the production, technical and creative teams.

This production required a large number of props, therefore as a Props Master I was in charge of making sure that everything was in the right place and handled carefully. I was also taking care of props that wouldn't have to be on set at all times.

The Art Department was on standby for the entire day making sure that we could help the crew when necessary. In order not to disturb the production, we stayed in the Gallery. Two Art Dep members at the time were allowed in the TV Studio to watch the filming process and help the crew when required.

Meg Nixon (Hair & Makeup) did an amazing job of preparing makeup for the actors. She created various types of blood for Berris which looked extremely realistic!

This time, the production was a little bit late due to the fact that we didn't start as scheduled (TV studio wasn't opened on time), therefore the set's strike was postponed. Nevertheless, we managed to prepare the set for the next day of filming.

The entire day was an amazing experience! Everyone did such a great job by working collaboratively and helping each other!

IT’S A WRAP!

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Blood Red Meat's Preparation Day/Call Sheet/Production Schedule.

All props were kept in the labelled boxes in the 'Props Cupboard'. 

As a Props Master for this film, I was in charge of all the props that had to be in place on set. On the preparation day along with the Props Maker (Jonas Rotne) I was preparing the props for the filming day. I had to paint the vases and give them to the Props Maker who had to break them and glue them back again (for the film's purposes).

The crew was in charge of setting up the equipment and it was a really good opportunity to get the best insight how this process works.

***

In the evening, we all received a call sheet and production schedule for the next day.

Call Sheet created by Zöe Deltron:

Production Schedule created by the Director, Norman Tamkivi:

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HUMDRUM - Filming Day & Set Strike.

From the left, Andrea Mae Perez (Director) Boppy Mason ( 1st Assistant Director) & Carla Stebbing Belmonte (Cinematographer).

The Director was responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film's plot, directing the performances of actors, selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing 

The first assistant director (1st AD) assisted the production manager and director. She oversaw management of the cast and crew scheduling, equipment, script, and the set. She also ensured the filming came in on schedule while maintaining a working environment in which the director, principal artists (actors) and crew could be focused on their work. 

The Cinematographer: The director of photography who was the head of the camera and lighting department of the film. The DoP made decisions on lighting and framing of scenes in conjunction with the film's director. In the instance of this project, the DoP served as camera operator. 

Additionally, I was also impressed with the work of Simone Hendry (Producer).

The Producer initiated, coordinated, supervised, and controlled matters such as raising funding, hiring key personnel, contracting and arranging for distributors. The producer was involved throughout all phases of the process from development to completion of a project. 

Overall, I've learned a lot by watching them work. They all were extremely professional and through!  

I was impressed with the amount of people required in order to create a 3 minutes piece!

The director was explaining to the actors her expectations.

Some of the important documentation was hung in the Green Room.

***

At 3.30pm there was a set strike for the next production. Art Department had to remove the previous set for the next filming day!

The entire day was an amazing experience! Everyone did such a great job by working collaboratively and helping each other!

IT'S A WRAP!

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Health & Safety in the TV Studio.

Some of the most important rules:

Food and drinks are not allowed in the studio at any time.

Follow all safety instructions for lifting and moving objects.

Wear closed-toe, stout shoes - no high heels or flip-flops!

Keep all exits free of obstruction and keep belongings in a designated area. 

Phones have to be turned off or on a ‘plane’ mode because they cause disruption - unexpected sounds may occur.

Stepladders can be only used after a successful completion of ‘Safe Use of Stepladders Test’. 

Here's my ‘Safe Use of Stepladders Test’ Result:

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Humdrum's Preparation Day/Call Sheet/Production Schedule.

One day before the actual filming/production day the whole crew and art department arrived to the TV studio to prepare the set for the big day.

As a Set Decorator for this film, I was helping with putting turquoise vinyl stickers on cupboards. Nonetheless, everyone was helping with everything that had to be done - bringing the furniture, placing the props in the right position, etc.

Iw was a really good experience, especially because the entire team was working collaboratively. We finished on time and the set was looking fabulous!

The crew was in charge of setting up the equipment and it was a really good opportunity to get the best insight how this process works.

***

In the evening, we all received a call sheet and production schedule for the next day.

Call Sheet created by the Assistant Director, Boppy Mason:

Production Schedule created by the Producer, Simone Hendry:

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Blood Red Meat's important production documents.

1) Colour Palette created by the Cinematographer, Jannik Schmoller:

2) Lighting Plan (position of the lights) created by the Gaffer, Carla Stebbing Belmonte:

3) Character Breakdown created by the Director, Norman Tamkivi:

4) Camera Blocking (camera positioning for each scene) created by the Director, Norman Tamkivi:

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Humdrum's important production documents.

1) Kit List (equipment used on a filming day) created by the Producer, Simone Hendry:

2) Camera Blocking (camera positioning) created by the Cinematographer, Carla Stebbing Belmonte:

3) Lighting Plan (position of the lights) created by a) the Cinematographer, Carla Stebbing Belmonte & b) the Electrician, Florence Scott Anderton:

a)

b)

4) Lighting Breakdown created by the Electrician, Florence Scott Anderton:

5) Shotlist (A list of shots which helps in the planning and filming of the film) created by the Cinematographer, Carla Stebbing Belmonte:

6) Risk Assessment created by the Set Decorator, Me:

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Final versions of scripts.

It was essential that everyone was familiar with the script!

Final version of Humdrum's script created by the film's Director, Andrea Milla Perez:

&

Final version of Blood Red Meat's script created by the film's Director, Norman Tamkivi: 

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Props for the 'Red Blood Meat'/Budget issues.

This is the third (last) sourcing sheet produced by me:

***

My official list of items borrowed from ALRA:

As a Props Master I am responsible for returning everything that was hired for our production (all items must be returned to ALRA on 12/03/2014).

& at last, this is a final version of the props list for the 'Red Blood Meat':

***

BUDGET ISSUES:

Due to nature of this film (demanding a significant amount of props) we have reached our limit with the allocated £200 (with 5p spare) and so anything else we required would need to be from our own collective finance pot.

During one of production meetings, the crew discussed with the Producer, Ben Wilson, the necessity of an extra budget. This was to book out a camera equipment and get more props, both of which were essential to us producing a very high quality and valued production. We agreed to collectively contribute an amount of £5 into the production pot.

Personally, I believe the budget issues could have been avoided if the Producer was more assertive with the Director's ideas. We didn't have to purchase 3 expensive IKEA vases (which were meant to be broken anyway for the slow motion shots). The vases could have been easily sourced from the charity shops but the Director refused to do so claiming that we wouldn't find 3 identical ones. There were other items that could also have been sourced at a lower price or even for free.

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The House Project - Shoot Schedule.

Here's a Shoot Schedule for the House Project:

My productions were scheduled as follows:

23/02/14, 3.30pm - Preparation Day ('Humdrum')

24/02/14, 9am -  Filming Day ('Humdrum')

25/02/14, 3.30pm - Preparation Day ('Blood Red Meat')

26/02/14, 9am - Filming Day ('Blood Red Meat')

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'BLOOD RED MEAT': Production Meetings - log/action list/notes/outcomes. Communication

Here’s a Production Meetings Log which I’ve created during our pre-production for the Norman’s film, ‘Blood Red Meat’:

Our meetings tackled all the important issues regarding the pre-production process like props/decoration sourcing, our ideas for the set design, budgeting, deadlines etc.

Relevant meeting notes (taken by Stephanie Chaya) with meeting outcomes and action lists have been produced (thanks to our irreplaceable Producer, Benjamin Wilson).

Meeting Notes - 31/01/2014, (Chaya, 2014)

Meeting Notes - 03/02/2014, (Chaya, 2014)

Action List - 03/02/2014, (Wilson, 2014)

Art department meeting outcomes (Tamkivi, 2014)

Art department meeting outcomes - Initial Floor Plan (Apicella, 2014)

During our last meeting (with the entire crew/art department present) we discussed our work progress, final steps and overall prognosis for the filming day.

***

COMMUNICATION WITHIN BLOOD RED MEAT’S PRODUCTION:

Overall, I was very satisfied with the quality of communication among Blood Red Meat’s crew members. There were no problems with contacting anyone in the team. Our Producer (Benjamin Wilson) made sure that everyone was informed about any upcoming meetings/significant events, he also personally sent a reminder to each member on the filming day's eve. No questions remained unanswered, no doubts lingered. People worked collaboratively, everyone helped each other with their tasks. 

Here are some conversations regarding our production process:

References:

Apicella, M. (2014) Initial Floor Plan [Image].

Chaya, S. (2014) Meeting Notes - 31/01/2014 [Image].

Chaya, S. (2014) Meeting Notes - 03/02/2014 [Image].

Tamkivi, N. (2014) Art Department Meeting Outcomes [Image].

Wilson, B. (2014) Action List 03/02/2014 [Image].

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'HUMDRUM': Production Meetings - log/action lists/outcomes. Communication.

Here's a Production Meetings Log which I've created during our pre-production for the Andrea's film, 'Humdrum':

Our meetings tackled all the important issues regarding the pre-production process like props/decoration sourcing, our ideas for the set design, budgeting, deadlines etc.

Relevant meeting notes with meeting outcomes and action lists have been produced (thanks to our irreplaceable Producer, Simone Hendry).

Action List - 28/01/2014, (Hendry, 2014)

Action List - 11/02/2014, (Hendry, 2014)

Meeting outcomes/list of items needed, (Hendry, 2014)

During our last meeting (with a Production Co-ordinator, Daniella Bailey) we discussed our work progress, final steps and overall prognosis for the filming day.

***

COMMUNICATION WITHIN HUMDRUM'S PRODUCTION:

Overall, I was very satisfied with the quality of communication among Humdrum's crew members. There were no problems with contacting anyone in the team. No questions remained unanswered, no doubts lingered. People worked collaboratively, everyone helped each other. 

Here are some conversations regarding our production process:

References:

Hendry, S. (2014) Action List 28/01/2014 [Image].

Hendry S. (2014) Action List 11/02/2014 [Image].

Hendry, S. (2014) List of items needed [Image].

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Initial mood-boards for a visual reference.

In order to visualise our director's idea for the film, some of the crew members created mood-boards to help us gain a better understanding of the film's atmosphere, setting, etc.

Mood-board created by the 'Red Blood Meat's' Director, Norman Tamkivi (2014):

Mood-board created by the 'Red Blood Meat's' Cinematographer, Jannik Schmoller (2014):

Mood-board created by the 'Humdrum's' Art Drirector, Meg Nixon (2014):

References:

Nixon, M. (2014) Mood-board [Image].

Schmoller, J. (2014) Blood Red Meat Mood-bard [Image].

Tamkivi, N. (2014) Initial Mood-board for a visual reference [Image].

Disclaimer:

I do not claim that these images are my own, I do not own the rights to these pictures. They are only used to present visual references for the general ideas of the productions I work on.

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My reflection on the visit at ALRA.

Visiting ALRA was a part of our sourcing process. 

ALRA South is based at the Royal Victoria Patriotic Building, a magnificent Grade II listed Victorian Gothic building on the edge of Wandsworth Common, South West London.

I think this visit was a massive help for the art department, thanks to the courtesy of the ALRA South we could take from their props storage anything we found useful for our films!

These are the items I sourced for the 'Red Blood Meat':