Production Schedule

Description	Time	Date	Cast/Crew	Room
Unloading Equipment	09:00-10:00	17th March 2014	Crew	Garage & KN Singh
Pick Up Equipment	09:00-10:00	17th March 2014	Crew	Equipment Hire
Clean Studio	09:00-10:00	17th March 2014	Crew	KN Singh
Set Up Studio for Fire Scene	10:00-11:30	17th March 2014	Crew	KN Singh
Brunch Break	11:30-12:00	17th March 2014	Crew	KN Singh
Dancer Arrives, hair/make up, and warms up.	12:00 – 12:45	17th March 2014	Dancer	KN Singh
Sound, Camera & Lights Test/Set Up	12:00-12:45	17th March 2014	Crew	KN Singh
Shooting for Fire	12:45-13:45	17th March 2014	Dancer & Crew	KN Singh
Break	13:45-14:00	17th March 2014	Dancer & Crew	KN Singh
Fire Choreography	14:00-15:00	17th March 2014	Dancer & Crew	KN Singh
Lunch	15:00-16:00 (Dancer) 15:00-15:30 (Crew)	17th March 2014	Dancer & Crew	KN Singh
Set Up for Air Scene (Deconstruct Fire Scene)	15:30-16:00	17th March 2014	Crew	KN Singh
Sound, Camera & Lights Test/Set Up – Dancer Warm Up	16:00-16:45	17th March 2014	Dancer & Crew	KN Singh
Shooting for Air	16:45-17:45	17th March 2014	Dancer & Crew	KN Singh
Break	17:45-18:00	17th March 2014	Dancer & Crew	KN Singh
Shooting for Air	18:00-19:00	17th March 2014	Dancer & Crew	KN Singh
Pack & Lock Up	19:00-20:00	17th March 2014	Crew	KN Singh

Description	Time	Date	Cast/Crew	Room
Prepare Studio Floor	09:00-09:15	18th March 2014	Crew	KN Singh
Tape Down Bin Bags & Lay Down Tarpaulin for Water Set	09:15-09:45	18th March 2014	Crew	KN Singh
Fill Up with Water	09:45-10:30	18th March 2014	Crew	KN Singh
Breakfast Break	10:30-11:00	18th March 2014	Crew	KN Singh
Dancer arrives, hair/make up, and warms up.	11:00-11:45	18th March 2014	Dancer & Crew	KN Singh
Sound, Camera & Lights Test/Set Up	11:00-11:45	18th March 2014	Dancer & Crew	KN Singh
Shooting for Water	11:45-12:45	18th March 2014	Dancer & Crew	KN Singh
Break	12:45-13:00	18th March 2014	Dancer & Crew	KN Singh
Shooting for Water	13:00-14:00	18th March 2014	Dancer & Crew	KN Singh
Lunch	14:00-15:00	18th March 2014	Dancer & Crew	KN Singh
Warm Up	15:00-15:45	18th March 2014	Dancer	KN Singh
Shooting for Water (Back Up)	15:45-16:45	18th March 2014	Dancer & Crew	KN Singh
Pack Up Equipment	16:45-17:15	18th March 2014	Crew	KN Singh
Remove Water	17:15 -18:15	18th March 2014	Crew	KN Singh
Lay Down Tarpaulin & Sand	18:15 – 18:45	18th March 2014	Crew	KN Singh

Description	Time	Date	Cast/Crew	Room
Set Up	09:30-10:00	19th March 2014	Crew	KN Singh
Dancer arrives, hair/make up, and warms up.	10:00-11:00	19th March 2014	Dancer	KN Singh
Sound, Camera & Lights Test/Set Up	10:00-11:00	19th March 2014	Crew	KN Singh
Shooting for Earth	11:00-12:00	19th March 2014	Dancer & Crew	KN Singh
Break	12:00-12:15	19th March 2014	Dancer & Crew	KN Singh
Shooting for Earth	12:15-13:15	19th March 2014	Dancer & Crew	KN Singh
Lunch	13:15-14:15	19th March 2014	Dancer & Crew	KN Singh
Warm Up & Set Up	14:15-14:30	19th March 2014	Dancer & Crew	KN Singh
Shooting for Earth (Back Up)	14:30-15:30	19th March 2014	Dancer & Crew	KN Singh
Pack Up Equipment	15:30-16:00	19th March 2014	Crew	KN Singh
Clean Up	15:30-17:00	19th March 2014	Crew	KN Singh
Extra Time: Back Up Air	17:00 – 20:00	19th March 2014	Crew	KN Singh

Final Notes & Lighting Experiments

By Friday the 14th of March I had everything finalised: the actor's agreement, costumes, shooting schedule, props list and signatures for the risk assessment. I called for a team meeting on Friday to discuss the controls that had to be put in place from our Risk Assessment, the props we needed to bring in and the call times for cast and crew.

Al, Jacob and Callam had edited our rehearsal footage with notes for our dancer to follow (video to be posted at a later date). This was sent out to her before the weekend so that she could practice and apply Al's notes to her performance.

Whilst I was after Chris Pinnock for the last signature on our risk assessment I found this on set:

At first I was extremely confused and thought someone else was also building a water set! Turns out Chris Pinnock built it just for our production. It measured out to be just over two meters on each side. He had some recycled wood lying around which is what the frame is made of. He even laid out the second tarpaulin layer I was going to ask him about! When I realised that this was for us, I asked Chris Pinnock if the studio was free for the afternoon and if we could experiment with lighting. That way we could save up to two hours of setting up on Monday. 

My experience with lighting is fairly limited as I am only familiar with theatre lighting. This meant I had a lot to learn from the guys, even when what we decided to use is considered "the basics."

Al decided that we should be working with a three-point lighting system as our minimum for all the scenes. This requires using the 2K lights #1, #14 and #21 in the studios. From there we can build up on our layers of lighting. We concluded with the following results for our basic lighting: 

With the basics of our lighting planned out, this means we can dedicate 1.5 hours during Monday's set up to figuring out the lighting for fire. This means adding gels and cookies to see what creates the best combination for our fire dance. Looking forward to working on set! 

Risk Assessment: Set Practice

Following the green light day with Kathleen Rogers on the 6th of March, I wanted to double check if my Risk Assessment was good to go with Rosie Gunn. After discussing some of the measures I had in place, Rosie suggested that I speak to Tim Savage as my project was actually considered a medium-risk due to the fact that we are working with water around equipment.

I consulted Tim Savage and he said that he had to seek secondary advise with another coordinator. He advised that I came back the following day for a meeting at 1:30PM.

I did as instructed and received the following control measures that had to take place in addition to our current list:

• RCD's (circuit breakers) are to be used on all electrical items - these are available from the stores. 
• Electrical floor sockets must be covered with water proof material and duct taped down (and not covered by the pool). 
• Use two tarpaulins (one to cover the ground, the second to create the vessel holding the water). Tarps are to be checked in advance for water retention and robustness - to avoid toe nails or sharp objects penetrating the material (simulate in a location without electricity before studio use). If insufficient, a pond liner should be purchased from a garden centre. 
• Provide a non-slip matting for the model when getting in to the pool. Maximum depth of water is limited to one inch. 
• Do not use Red Head lighting - only use the overhead studio lighting. 
• Any water based practices (set up, filming, striking the set) can take place while supervised by Studio technician (Chris Pinnock) 
• During evenings (after 5PM) only low risk process can take place (no smoke, water, heights). 
• A calculation is required of how much water is required to fill the pool. (If the pool size is 3m x 3m this totals 9m2). This requires 270 litres of water (which weighs 270kg). Where is this water coming form? And once completed, how is this volume of water removed from the studio safely? 
• In respect of the sand, the area should be regularly swept to avoid a build up (which increases the risk of slips). 

After bringing this information to the team, we respected the additional controls that Tim Savage put in place for us. Thankfully we had five days left before shooting so there was still some time to implement these changes. 

• I can book RCDs from the equipment hire. I will be doing this on Thursday the 13th of March. 
• We can cover the electrical floor sockets with plastic bags, and tape down the edges. This is considered a waterproof material. 
• Our "tarpaulin" is actually visqueen, which is construction-strength and waterproof. I spoke to Tim Savage and negotiated with the fact that we do not have it in our student budget to purchase another tarpaulin sheet. We came to the compromise that if we shrank down our water set to 2m x 2m, then the University actually has a tarpaulin sheet that we can borrow. Considering that our dancer doesn't actually travel a lot in the water segment this seemed appropriate. This also minimise our use of water. 
• We have already purchased the non-slip mats for the dancer. We have agreed that maximum pool depth should be one inch. 
• We can switch to the 2K lights that are in the KN Singh studio, so that we minimise electrocution risks if water does spill through the studio. The boys were disappointed, but we can learn to deal with different lighting. This entire project is a learning process.
• We will not be performing any of the medium-risk stunts after 5:00PM. I have this scheduled to finish by 4PM everyday, so that we have the supervision of Chris Pinnock. 
• The team has already agreed that we will be bringing in our brooms and buckets from home, so that we can try and keep the set as clean as possible. As producer on set, this will be my priority along with safety.

The only issue we had left was that we actually had to construct our 2m x 2m water bed. Tim Savage requested that we experiment with this, showing him photographic evidence of the visqueen sheet being robust enough for the project. If we did this he would be able to sign us off and help us supply the water vacuum and second tarpaulin sheet. 

We got busy that afternoon:

The experiment with the set concluded that our visqueen was indeed strong enough to resist accidental tear (it requires a blade to be torn) and that there was no water leakage when used on set. We will be bringing these photos in as evidence to Tim Savage tomorrow morning. 

Make Up & Costume Fitting

When our choreography rehearsals concluded I called in our make up artist, Iulia Maroussi, to practice her ideas with our dancer. Iulia was given the instructions that "we would want our dancer to seem alien, however, the priority is to keep her make up quite neutral. Especially when our colour palette is very neutral and earthy."

For health and safety measures we asked our dancer to bring in her own make up. Thankfully she has several metallic versions of earthy colours. Iulia managed to experiment around with eye shadow and found a gradient of beige and browns were the most effective look for our dancer. After applying all of the eye make up, Iulia powdered our dancer's face so that it would reduce shine from the lighting.

The final outcome got the approval of the team as we didn't want to go for a very dramatic look. Our dancer showed us several photos of her experience with stage make up, which had quite a bold look that we weren't after. These designs were bold as they were designed to be seen from a stage: from several meters away. The team felt that as the camera will have the opportunity to do quite a few close ups, it might be too much to have very bold make up. 

After the make up experiments we had our dancer fit into her costume. The costume was a black leotard and a black pair of high-waisted shorts which both came from ASOS. Thankfully it fitted her well however we do need to order a back-less bra for her. We didn't anticipate that she wouldn't have one. This is of no concern as one is currently on its way and is expected to arrive before the shoot.

Al decided that we should let her hair down as it provides us with the opportunity to make her movements seem more fluid.