A2G3: Second Shoot Risk Assessment and Observations

Risk Assessment

Date of shoot: Saturday 15th of November, 2014

Location	Risks/Challenges	How we’ll deal with it
Protagonist’s bedroom	There will be toys everywhere, which could be potential trip-hazards.	Create a path in which the camera can be moved around without too much obstruction, or leave only part of the room full of toys, so that there is space for the camera and crew.
Kitchen	Lighting will probably not be the same as last time we shot	Use additional light as we did last time.
Outdoors	Potential mud and rain will most likely be a difficult element, for two reasons.   Firstly, the mud and rain will make  moving around a little more difficult and thus take up valuable time moving to and fro different parts. Secondly, there is a high chance that we will not have the same lighting as we did on the first shoot. If we plan on filming in the dark, we will have to be mindful of the ground around us, as we would during the day. Furthermore, our light sources could create a flammable risk.	Te environmental aspects will have to be dealt with the use of raincoats, wellingtons and umbrellas. The lighting aspect is most likely the most important part of the reshoot. In order to get the same level of lighting, we could make use of In order to counter the dangers of shooting in the dark, we have to carry with us electrical torches and a fire extinguisher, in case a fire should occur.

Observations

What we observed after reviewing the clips on the rough cut was that:

• The ending does not quite fit with our concept, and thus we have to reshoot it.
• We also found the last scene a little bit too inappropriate.
• Costumes would have to be different.
• An idea that Isaac came up with seemed like an interesting development from the last outdoors scene. When the protagonist passes by the tree (which acts as a transition), the time of day switches from day to night. This would add a much more sinister element to the narrative, as has been the plan all along. In order to shoot in the dark, we will have to adapt the camera to the low lighting. Luckily, there are tutorials for that all over the internet.

• The kitchen scene is the longest scene of them all, leaving us with little time to create the change from reality to imagination. There are several ways we could get around this:
• Shorten down the length of the kitchen scene in post production. This could mean that we lose some development of the narrative, but would also allow more time for the narrative to progress.
• Alternatively, we move the music forwards on the timeline, so that we use the first shot as an establishing shot.
• In order to create more time for the narrative to progress, we could also cut the song itself to leave a short 5 second gap between the reality and imagination sequence, most likely to make room for the transition.

What do we need to be aware of?

• It is absolutely vital that we are efficient with the short amount of time we have to shoot, as our actor has an exam on the Monday after our planned shoot.
• Keep an eye on the time, all the time. We want to make the most of the time that we have available, and do not have time to squander.