Preliminary Task 2 - Brainstorming Ideas and Planning order of shots

GCH Productions - Grace Watson, Chene Harris and Hunter Look
16 April 2020
Media Studies
Preliminary Task 2 - Brainstorming Ideas and Planning order of shots

•

Brainstorming:

Grace Watson's ideas;

an abduction
- this will make it easy to include the chase-scene. 
- will also evoke fear within the viewer - they will sympathise and worry for the girl. 
- girl being abducted - vulnerable, 'weak', she will scream, cry, yell - supports the typical            stereotype of girls being emotional.
- can use makeup to paint a large bruise on her forehead/cheek, as if she has been hit/hurt.
- her hair can be really messy and knotty - symbolise how she has been pulled and pushed around roughly. 

- man - brutal, scary, stern, unafraid, powerful - also supports typical stereotype of men being the less vulnerable, more superior characters. He will be a strange character, pale face, blue rings under his eyes, and a falseness in his voice.

Our main plot idea: A large, tall man offers a young, small girl a 'sweet'. He invites her to walk with him to his car where the sweet is. She happily goes along with him. Soon after handing her the sweet (which is the object that is 'given'), he then invites her to get into his car. She has a 'discovery' or 'revelation' moment, and remembers how one should never take a sweet from or get into a car with a stranger, and so therefore she realises that perhaps this man is a danger to be around. This will be symbolised by her dropping the sweet onto the ground, looking up at him worriedly, and politely saying, "Um, no... thank, ... you... no.. thanks." (a bit of a stutter - sound revealing her nervousness) [we may use a close-up shot of her face revealing her worry, and then a low-angle shot looking up at the man revealing his superiority and her vulnerability in this moment]. He will then try and grab her, in which she will begin running away at a high speed - the chase scene of him chasing after her. This chase-sequence will be followed by him managing to catch up to her and pick her up, with her hitting her head against his on accident, hurting herself. He will carry her, at pace, to his car, shove her inside, and drive off. [Extreme close-up of his face as he carries her to reveal his determination and awful character - pale face, blue rings under his eyes, really strange man].


Dialogue may be:

MAN:
Hey little gal, how are you?
GIRL:
Hi, um, I'm good thank you.
MAN:
Where's your mum?
GIRL:
{points to bathroom entrance} I'm waiting for her.
MAN:
Ah... I don't suppose yu'd a like a sweet while you wait, would you?
GIRL:
{smiles with keen interest}.
MAN:
Come along, we'll only be two minutes.

{both begin walking to his car}

MAN:
Let's go for a drive while we wait, should we?
GIRL:
{'revelation' moment'} Um, no... thank, ... you... no.. thanks. {drops the sweet, looks up at him worriedly, and begins running away, screaming}. MOOOOOMMMMYYYYY!

{chase-scene}


Setting: Kennedy Park, between Castor Bay and Milford - there's a playground for the small child to be near, and a public toilet opposite it where the child can point to her mother being. In between the playground and the public toilet, there is also a parking lot where the man's car can be stationed.
     

Chene Harris' ideas:

The little girl could be wearing pigtails and quite happy and bright colours 

The strange tall man is wearing dark colours with scruffy hair and kind of like a smokers voice 

We could film at a public toilet place and have the man drive up in the parking lot with a white van and all the windows tinted apart from the drivers window 

The tall strange man could be staring at the child playing in the playground from across the road and as soon as he sees the child’s mother go into the bathroom he then drives up to you in the parking lot and then get out and asks her if she would like the sweets 

And for the actors:

We thought of using Aria Ironside because she has experience in acting for Ella Ironsides previous media films.

We also thought of using Sean as the tall man who abducts the little girl (Aria) because he fits the role.

Hunter Look's ideas:

For our location i was thinking we could use castor bay playground aria as well as the carpark there.

i thought we could that we could do it to add the darker effect as well as it being easier than having to add a filter over afterwards.

Planning order of shots:

= establishing shot of the park from behind car.
= Pan shot from abductor's P.O.V. looking at the girl's mom leaving to go to the bathroom.
= Match-on-action of man opening and then closing the car door.
= mid-track shot and cut closer to an over-the-shoulder shot of man walking towards the little girl (shaky camera).
= mid-shot from side.
= high angle shot from the man's P.O.V. looking down at the girl, offering her a sweet.
= low angle shot from girl's perspective looking at the man, accepting the sweet.
= mid-P.O.V. shot of him looking down at her - she'll be smiling and will then begin 'pause' and realise that something is fishy.
= close-up of her face when she realises that it's strange and she shouldn't take sweets from strangers (discovery moment) - kind of like a 'pause' moment.
= full-shot of the girl dropping the sweet.
= birds eye-view/high-angle shot of the sweet as it falls.
= hand-held shot chasing after the two actors.
= birds-eye view shot from the top of the playground element - Theo chasing Aria.
= mid-P.O.V. shot from Theo's perspective chasing Aria.
= wide/long shot of Theo grabbing Aria and her fighting back - lots of camera movement in this shot.
= mid-shot of Aria and Theo hitting heads.
= close-up of Aria holding her head and stopping fighting because of the pain.
= extreme-wide shot of Theo carrying her towards his car.
= extreme-close-up of half of Theo's face as he walks towards his car, carrying Aria - shadow on his face.
= extreme-close-up shot of Theo's hand opening the door.
= wide-shot shot of him opening door.
= wide-shot of him shoving Aria into the car.
= close-up of Aria hitting her head against the side of the inside of the car.
= extreme-close-up of her painful spot.
= mid-shot of Theo closing the door.
= track shot of him walking toward his door and getting into his car.
= extreme wide-shot of the car driving off.
= wide shot of Aria's mom coming out of the bathroom.
= close-up of her looking around and then yelling for Aria.
= mid-track shot running after her as she runs in the car’s direction, yelling for Amberly in pure distress.
= extreme close-up of the mother’s eye - stressed, agitated, confused, deeply worried.
= BLACKOUT

Preliminary Task 2 - Day-by-day Planning and Who's Doing What

GCH Productions - Grace Watson, Chene Harris and Hunter Look

15 April 2020

Media Studies

Preliminary Task 2 - Day-by-day Planning and Who's Doing What

•

Day-by-day Planning:

Day one:

Grace Watson and Chene Harris called over 'Whatsapp' and discussed who would do what (as written below). Hunter Look missed the call and so we finalised the details with him over 'Instagram' Direct Message.

Below is a screenshot and quote of the message Grace sent.

"Hey hunter, so sorry, thought you weren’t on your phone or something atm [at the moment] so we called already 5 mins ago. You didn’t miss anything though, we only discussed who would do what, but because we all have to have a turn at something it won’t make a difference whether you do it this time or next time. We also made sure it’s very fair. I’ll send a photo of who’s doing what below.

Also, does it work for you if we WhatsApp call every day from 10:50 to 11 just for ten minutes to check in on everyone and make sure everyone is all good? Also also, we really want to be organised and have loads of fun with this one so let’s just do it you know ! 😂👏🏻" 

Day two:

We all called over 'Whatsapp' once again and decided to each begin thinking of plot ideas. We agreed on finding a plot idea that would be simple to really ace and master, yet creative and of a high standard and quality. A plot idea Grace mentioned was perhaps an abduction, as this would be perfect for a chase-scene, and both Chene and Hunter loved and then contributed to the idea.

Our ideas thought of separately will then all be added onto both our personal blogs individually, and onto a blog post on this group blog (GCH Productions) which we will then look at and narrow down to one ultimate idea.

Below is a screenshot and a quote of the message I sent to our group chat after the call. 

"okey so here’s what we spoke about on the call just in case: everyone watch T. Bianca’s video & brainstorm GOOOOD thriller ideas for our plot, add these ideas to both your personal blog & the group blog (GCH Productions). I’ve made a blog post on the group blog for to you to add your ideas. It’s called “Preliminary Task 2 - Brainstorming Ideas”. thanks guys! happy Thursday :)"

Day three (in the morning):

We were supposed to call over 'Whatsapp', however Chene Harris had an appointment and could not make it in the morning.

Below is a screenshot and a quote of what I sent to our group:

"hey hunter, Chene couldn’t make it, so I’ve just come up with an idea. I did make a blog post for you guys to add to, but neither of you guys did, which is understandable, you’re probably busy with other school work, but because it was due today I just came up with one which I think you’ll like. We can always change the idea slightly as we go along. This is what I thought, let me know what you think:"

I posted the idea, and both Chene and Hunter loved it, responding:

Chene: I like that, especially when “he invites her to walk with him” baha I feel like this is going to be a goooooood film compared to our previous one 😂🙈

Hunter: Yo good idea

Hunter then suggested calling at 2pm. I could not make that call but told them to carry on and let me now what they discussed.

Hunter: Yeah we were thinking of doing a call at like 2:30 ish cause that’s when I’m going up to church to do my media work

They ended up not doing the call because Chene forgot.

Day four:

Called and finalised our idea, Chene Harris added her ideas to the group blog.

Who's Doing What:

Grace Watson

- Sound/Audio
- Brainstorm
- Concept
- Treatment
- Storyboard
- Location/setting
- Props and costumes
- helping with the logo.

Chene Harris

- Camera

- Director/time-keeper

- Brainstorm

- Concept

- Treatment

- Script and talent

- Editing

- Logo - design, placement, animation.

Hunter Look

- Lighting

- Brainstorm

- Concept

- Treatment

- Shot List

- Film schedules

- Call sheets

- help with the logo.

ALL research editing and sound techniques and everybody does a vision/mood board of what their film needs to look like.

Preliminary Task 1 - Planning

GCH Productions - Grace Watson, Chene Harris, and Hunter Look

24 February 2020
Media Studies
Preliminary Task 1 - Planning

•

Grace Watson
Pre-production
- Brainstorm
- Script
- Talent
- Filming equipment organisation
- Film schedules
Production
- Lighting/Fleccie
- Actors
Post-production
- Lighting adjustments as necessary
- Video/Audio FX
- Logo


Chene Harris
Pre-production
- Shot list
- Location Recce
- Weather check for filming days
- Callsheets
Production
- Audio operator
- Location shot setup
Post-production
- Continuity, 180 degree rule, match-on-action
- Background music/diegetic sound levels/mixing levels
- Titles


Hunter Look
Pre-production
- Storyboard
- Early technical decisions for effect, revise storyboard as necessary
- Props and costumes sourcing
Production
- Equipment final check
- Camera operator
- Director/Time-keeper
Post-production
- Evidence of pre-production planning and production processes
- Cast and crew list.
- Basic plot on timeline


ALL THREE OF US
Post-production
- Gaps
- Treatment explanation for the above


Brainstorm:
Grace Watson

Rationale:
Grace Watson

The scene will begin with a black screen as the titles of “GCH Prouductions • Close Shave” slowly appear. Before the scene has even begun, the viewer is already intrigued by what is meant by a “Close Shave”?! The black screen will fade away, and the opening shot, a wide shot of Rattler reaching towards a door (mise-en-scène), will fade-in (transition - editing). This specific transition will match the slower atmosphere created by the slow forming titles at the beginning, and will be reinforced later by different conventions to come (such as the humming, and slow, slow, slow walking of Rattler) that also carry an eeriness. 

There is no music at this point. All that can be heard is the loud knocking on the door (diegetic sound) that only sounds so loud and abrasive because of how silent everything else is. However, the viewer is still not completely fearful or distraught at this stage, as nothing of significant worry has happened just yet. 

The following shot will be a match-on-action shot (first technical requirement) of Rattler opening and stepping through the door, and closing it behind him. He will then walk toward the mirror ahead, a track shot will follow him doing so, and both the second character, Scar, and more of the location, a workshop, will be revealed to the viewer. The over-the-shoulder shot of Rattler looking at and examining his “beard” (non-existent) and reflection in the mirror placed on the workshop counter allows the viewer to see matters his own perspective. This shot also reveals Scar in the background reflection (mise-en-scène), as he prepares the hair cutting station for the shave to come. The barber equipment of scissors, a razor blade, shaving cream etc., pictured around him, all symbolise Scar as being a barber. Rattler doesn’t actually have any facial hair, and his hair is already nearly cut. He appears to be an unintentional character, reinforced by his being at a barber, when there is no hair to cut. His unintentional character look and his plain, straight face reveal how he is completely unaware of what it to happen to him. It’s ironic that both Scar and Rattler’s hair is short and shaved - neither appearing to need a haircut.

These shots will also reveal more of Scar and Rattler’s clothing. Clothing is often a symbol of background, occupation and wealth. Both men will be wearing dark blacks, blues and reds. Their clothes will be oversized and baggy, revealing how the men are affiliated with a gang. The colours of black and red represent death and blood, both activities that intense gangsters are heavily involved in.

It’s ironic that both Scar and Rattler’s hair is short and shaved - neither appearing to need a haircut.

The above shots also reveal the location. A workshop is supposed to be a place where wood is used for woodwork, where large structures are built, cars are fixed, boxes are packed etc. It is not supposed to be a barber. The ironic location immediately highlights a sense of strangeness. Perhaps they are involved in questionable activities, and hence would need to have their hair cut in hidden, secret and unpredictable places, such as the workshop, once again gang references.

During his walk toward the mirror, all that can be heard is the non-diegetic sound of Rattler’s footsteps, accompanied by the diegetic sound of Scar preparing the station by opening, clicking, rearranging and organising the workspace for the haircut. Everything else is still completely silent.

The silence and lack of dialogue will build up suspense as to why the actors have not greeted each other and why they both appear to be involved in gang behaviour. The viewer begins to question how healthy their relationship and their involvements are.

Up until this point, the viewer has been in a series of asking questions. Why in a workshop? Why so silent? Why so gangster-like? etc.

Close-ups of Scar and then Rattler respectively will reveal Scar motioning for Rattler to take a seat, still no sound. This will be an example of shot-reverse-shot (second technical requirement) and will once again emphasise the silence, and thereby the coldness of the scene. Where usually a barber is friendly and welcoming, their salon homely and warm, this barber is literally speechless, and he works from a cold workshop. The close-ups of the cell phone as it rings on the counter will highlight it's importance. The gun and the shank, surrounded by blood stains, will be seen on the floor below the counter. Both are symbols of death and murder, and will link with the phone call's conversation. he extreme-close-up of Scar's eyes and forehead as he hears what Ice, on the other end of the call has to say, will emphasize the terror of the situation, not only to the audience, but to him as well. His facial expression mimics the feeling of terror and worry within the viewer.

The lighting of the workshop is dim and dark. There is no light coming in from outside. This is ideal as it will compliment and mimic the fact that what is about to happen is dark and disgusting (murdering someone with a razor blade!!!). To depict Scar as being the character who has an upper hand and superiority, he, one, is in a standing position, whereas Rattler is motioned to take a seat, and, two, high-key lighting will be used to illuminate his character at some points in the scene, attracting the viewers' attention to his character and role and to what he may do.

Whilst Scar places his phone back on the table, Rattler will be heard humming a joyous song in the background. This humming will spark a sense of eeriness, as it will be the first sound other than the one sentence said on the phone-call amidst all of the silence. By now, the audience would've gotten used to the silence, and so the gradual increase in the sound of the humming, may creep them out, yet another convention. Because the audience knows what was said on the phone call, which Rattler does not, they may begin worrying for him and his life, and his humming may make them feel uncomfortable.

In the final few seconds of the scene, Scar will advise Rattler to "Close his eyes" to avoid soap in the eye. Suspense will be built through the building up of non-diegetic music made my drums and piano as Scar slowly but surely moves the razorblade closer and closer towards Rattler's neck, before suddenly, the music comes to an immediate and dramatic halt as the camera blacks out and all is finished. The black of the blackout resemble the death which has just occurred, and leaves the viewer in a state of shock and immense suspense. 

Throughout filming, the filming team will ensure to stick to the 180 degree rule (third technical requirement).

Script:

Grace Watson

—

FADE IN:

THE BARBER’S WORKING AREA – DAY

ON A WARM SUMMERS DAY OUTSIDE, THREE YOUNG MEN REMAIN INVOLVED IN SHADY, COLD, DARK AND DISTATEFUL BUSINESS.

FADE IN:

ENTERING THE BARBER AREA FOR A HAIRCUT AND SHAVE – DAY

RATTLER, a questionable character, with a gangster style implying him to be a gangster sort of character, involved in shady business, enters the barber area for a haircut and shave.

Scar prepares the station for the haircut and shave whilst Rattler walks toward the mirror and observes his facial hair and then walks toward the station for the haircut.

(standing at the station opposite Rattler)

RATTLER

(Takes a seat)

SCAR

(still preparing)

The cell-phone RINGS. Scar goes to—

THE EQUIPMENT TABLE - DAY

And answers the cell-phone without saying anything.

DARK CORRIDOR - DAY

A FIGURE walks along a dark corridor, cell-phone pressed to his ear.

VOICE

(over the phone)

Scar. Change of plan. Abort the mission. End him.

INTERCUT PHONE CONVERSATION

SCAR

(turns his head away from RATTLER to prevent him overhearing the conversation, nods)

VOICE

(over the phone)

You heard me. Now. Or you’re next. Don’t mess around!

Eetswa lad.

(puts cell-phone down, continues walking)

THE BARBER’S WORKING AREA - DAY

SCAR puts cell-phone on the equipment table, begins preparing razor.

RATTLER is heard humming in the background. (only sound)

SCAR

Close your eyes now Rattler, let’s avoid soap in the eye.

(both laugh/chuckle and RATTLER closes his eyes.)

SCAR will begin moving sharp razor blade towards RATTLER’S throat, before slitting it.

QUICK CUT TO BLACK

==========================

Script: 

[ INITIAL SCRIPT BEFORE HANGES]

Grace Watson

—

FADE IN:

THE BARBER’S WORKING AREA – DAY

ON A WARM SUMMERS DAY OUTSIDE, THREE YOUNG MEN REMAIN INVOLVED IN SHADY, COLD, DARK AND DISTATEFUL BUSINESS.

FADE IN:

ENTERING THE BARBER AREA FOR A HAIRCUT AND SHAVE – DAY

RATTLER, a questionable character, with a gangster style implying him to be one, enters the barber area for a haircut and shave.

RATTLER

Yo, howzit? 

RATTLER

Keen to chop this facial hair. Ready to kill this dog. Jake’s been

‘round talking smack for tooooo long.

(as Scar speaks, he prepares the station for the haircut.

As Rattler speaks, he walks toward the mirror and observes his facial hair and then walks toward the station for the haircut.)

SCAR

(standing at the station opposite Rattler)

Yo, let’s get you prepped. Take a seat, lad.

RATTLER

(Takes a seat)

Yoo. Hyped.

The cell-phone RINGS. Scar goes to—

THE EQUIPMENT TABLE

And answers the cell-phone.

SCAR

What's goodie?

DARK CORRIDOR - DAY

A FIGURE walks along a dark corridor, cell-phone pressed to his ear.

VOICE

(over the phone)

Scar. Change of plan. Abort the mission. End him.

INTERCUT PHONE CONVERSATION

SCAR

(turns his head away from RATTLER to prevent him overhearing the conversation, speaks slightly quieter)

 Sorry, what? He’s already here. Ready for his cut and shave, he's pre' keen for the plan.

VOICE

(over the phone)

You heard me. Now. Or you’re next. Don’t mess around!

Eetswa lad.

(puts cell-phone down, continues walking)

THE BARBER’S WORKING AREA - DAY

SCAR puts cell-phone on the equipment table, begins preparing razor.

RATTLER is heard humming in the background. (only sound)

SCAR

Close your eyes now Rattler, let’s avoid soap in the eye.

(both laugh/chuckle and RATTLER closes his eyes.)

SCAR will begin moving sharp razor blade towards RATTLER’S throat, before slitting it.

QUICK CUT TO BLACK

Shot List:
Chene Harris




















Location Recce and Weather check:
Chene Harris

The weather is perfect for filming on Thursday, 27 February 2020.
Because the filming will be done inside, the weather is not a huge concern (filming downstairs in the underground workshop by the astroturf).

Camera Work:
Grace Watson and Chene Harris

Shot-reverse-shot

_{^{Match-on-action}}

Lighting:

Grace Watson

• natural lighting - create a weird sense of emptiness. just as there is no sound other than humming, no additional lighting as well at certain parts of the scene will highlight the darkness of the situation; it's not a situation one would one to be involved in... dangerous activities, dodgy.

• the workshop is the location - it is very dark and dim - may use some key lighting to illuminate the characters, especially Zach Parratt (as Scar) to reveal how he has the upper hand in the situation, and can kill the opposite character easily.

• second location is the corridor in the school block - here natural lighting will be used to create an image of a dark alleyway/passage that resembles dark activity.

Props and Costume Planning:
Hunter Look

> Gangsta clothing style, research:


331131-how-to-look-Russian-mafia

Dress-Like-a-Gangsta



Black, dark navy blue, red, baggy and oversized,  gangsta-styled clothing will be used to reveal how the characters live dangerous lives and are involved in shady business.
- Tattoos (each actor will have a fake tattoo drawn on beforehand).


> Razor:


The razor will be used as the murder weapon, representing death and murder - brutal... murdering someone with a razor!?


> Jug of water:

for the barber's scissors.

> Barbers equipment:


Instantly reveals that he is a barber.

- hairbrushes/combs, scissors (blood on scissors).

> Shank and Gun:

When the barber opens his drawer of appliances for 'cutting hair', a shank and gun will be inside it - ironic - symbols of how the barber is dodgy, strange and not safe character. Reveals how he will most probably murder the man 'having a haircut'.

  gun
 shank

> Character names (gangster):

Link to the website used for a list of gangster names as ideas for our characters.
examples include King, Ice, Cube, Joe, Dagger, Rattler, etc.

https://pairedlife.com/friendship/100-gangster-nicknames

We decided on the names: 'Scar', 'Ice' and 'Rattler' (and 'Joe').

> Fake blood recipe:

- Corn syrup.
- Chocolate sauce.
- Red food coloring.

Props sourcing:

- Hunter Look will source the gun and the shank.
- Chene Harris will source the razor blade through Ethan Scharneck.
- Chene Harris will source the hairdressing equipment such as the bib, towel.
- Grace Watson will source the hair comb, scissors and a gold water flask for the table.
- Each actor will be asked to dress in all black, blue, navy or red clothes, that are baggy.
- Grace Watson will source the permanent marker which will be used to draw the fake tattoos.
- Hunter Look will make fake blood and stain it onto the shank at home.

Talent:

Grace Watson

> Zach Parratt as SCAR - the barber.                                                                       - confirmed

> Hunter Look as ICE - the person on the phone call.                                             - confirmed

> Max Crawford as RATTLER - the person having their hair cut.                          - confirmed
> Luke Watson as JOE - walks along the corridor alongside Hunter Look (ICE).  - confirmed

Film schedule:

Grace Watson

Thursday afternoon

• 13:25             - Meet in Media Studies Suite.

• 13:25 - 13:35 - collect equipment and walk down to the dance classroom (shooting location).

• 13:35 - 13:50 - set-up all the equipment (cameras, lights, audio, etc.)

• 13:50 - 14:00 - team brief, talent arrives, inform talent of the brief.

• 14:00 - 14:40 - shoot the scenes involving only Max Crawford (as Rattler) on his own and the in-between, filler shots.

This will include the...

1. [shot 1] mid-shot from the back of Max Crawford (Rattler) as he opens the door.

2. [shot 2] match-on-action shot of him entering the room.

3. [shot 4] over-the-shoulder shot of him looking at his reflection (close-up).

4. [shot 5] mid, track-shot of him walking back toward the chair where he will have his hair cut (side view).

5. [shot 8] close-up of Max Crawford's (Rattler) reaction and beginning of movement when he is motioned to take a seat.

6. [shot 10] close-up of the cell-phone ringing on the table.

7. [shot 16] close-up of Max Crawford's (Rattler) facial response to Zach Parratt (Scar) when told to close his eyes.

• 14:40 - 14:45 - tea break and reviewing filmed shots for correction and assurance.

• 14:45 - 15:20 - shoot the scenes involving Max Crawford (as Rattler) and Zach Parratt (as Scar)                                  together and the shots of Zach Parratt (as Scar) on his own.

This will include the... 

1. [shot 3] track shot of Max Crawford (as Rattler) walking towards the mirror, with Zach Parratt's (as Scar) reflection as he prepares the station also visible in the mirror.

2. [shot 6] two-shot of the two men standing opposite each other. {two - three-second shot}.

3. [shot 7] close-up of  Zach Parratt (Scar) as he motions for Max Crawford (Rattler) to take a seat.

4. [shot 9] two-shot, again, of Max Crawford (Rattler) taking a seat.

5. [shot 11] close-up of Zach Parratt's (Scar) hand picking up the phone.

6. [ shot 12] two-shot of him behind the chair Max Crawford (Rattler) is seated on, on the call.

7. [shot 13] extreme-close-up of his facial expression and reaction to Hunter Look's (Ice) demand.

8. high-angle-point-of-view shot of him then looking at Max Crawford seated on the chair facing the other way, and then the track to him preparing razor blade for the killing.
9. [shot 14] mid-shot of him (Max Crawford/Rattler visible foreground) closes cell-phone and turning around.

10. [shot 15] close-up of him telling Max Crawford (Rattler) to close his eyes.

11. [shot 17] wide-shot of him beginning with the razor blade.

12. [shot 18] close-up of the razor blade very near to Max Crawford's (Rattler) skin.

                           BLACKOUT

• 15:20 - 15:30 - make sure that all the footage is satisfactory.

• 15:30 - 15:40 - pack away all the equipment and head up to the corridor in the school block.

• 15:40 - 16:00 - shoot scene of Hunter Look (as Ice) on the phone call and Luke Watson (Joe) walking next to him = mid-shot.

                           This shot will be taken along the corridor in the school block.

• 16:00 - 16:20 - neatly pack away all of the equipment.

Call sheets:
Chene Harris

Thursday Afternoon:

• 14:00 - team brief, talent arrives, inform talent of the brief.

• 14:00 - 14:40 - shoot the scenes involving only Max Crawford (as Rattler) on his own and the in-between, filler shots.

• 14:40 - 14:45 - tea break and reviewing filmed shots for correction and assurance.

• 14:45 - 15:20 - shoot the scenes involving Max Crawford (as Rattler) and Zach Parratt (as Scar) together and the shots of Zach Parratt (as Scar) on his own.

• 15:20 - 15:30 - make sure that all the footage is satisfactory.

• 15:30 - 15:40 - pack away all the equipment and head up to the corridor in the school block.

• 15:40 - 16:00 - shoot scene of Hunter Look (as Ice) on the phone call and Luke Watson (Joe) walking next to him = mid-shot. This shot will be taken along the corridor in the school block.

• 16:00 - 16:20 - neatly pack away all of the equipment.

• 16:20 - Done.