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After filming, I organised the drop off to the equipment store. This involved getting a group of people together to take equipment to the 5th floor. It was important that the people who booked out the equipment were all there in case we found anything was missing. Thankfully, we managed to keep everything in good condition and return everything we needed first try.

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Upon hearing about this module I knew I was keen on getting the role of producer. This was because producing is a career I would love to go into in the future, and because I had such a great time as production manager on Video Project last year. Therefore I was very excited when I found out that our pitch would be going ahead and was eager to meet our group.

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Once our group was chosen, I was excited to hear everyone's ideas for the project and try to assign roles in a way that worked best for the production while also giving everyone roles they would be happy with. I began by contacting Mark Fox and booking out a room to hold the interviews/auditions. I then made a spreadsheet containing everyone's preferred roles in order, their allocated slot and what questions we would be asking them. I also accommodated for people that were not available to make the interviews in person by setting up zoom calls and giving the opportunity to send self tapes. We were all really impressed with everyone's interviews and were excited to get into pre production. I then met up with Jesse Malone (Director) and Thomas Jones (Scriptwriter) to finalize roles and begin planning pre production.

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During pre production I spent my time delegating tasks and answering as many questions as possible. The first day was an introduction to the group and the film. We began with ice breakers and then did a full read through of the script. Once this was done I ran through the basic timeline for the week of what I needed done and gave deadlines of when I needed them for.

I made documents for each department breaking down what they would need to source and for what scene/location. These were then sent over to our Production Co-ordinator Anna McIlroy who made the scene breakdowns which were greatly helpful in making the call sheets. I kept the group informed on progress throughout, keeping track of what was bought and how much budget we had left at any given moment.

I gave the team an availability form for them to fill out so I could work around people's schedules when making the production schedule. I got out a provisional schedule as soon as this was completed and locations were sorted making it clear that it was subject to change.

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I made a location breakdown document which I shared with my locations manager Joseph Healey. This detailed what locations we would need, how many scenes would need to be filmed there, when the location was available and whether the risk assessment was done. This was very helpful in keeping me up to date with progress.

By the second day of pre production, we were able to have all locations sorted other than the theatre (stage) which we needed for scene 15 (the climax of the film). We initially had the Robert Powell in mind however it was closed for renovation at time of shooting so we had to look elsewhere.

I spent a lot of time working closely with Joseph, including going to these locations in person and asking for availability. We eventually got in contact with the DPL team and settled on a couple days we could shoot there. Once this was sorted I left Joseph to work on risk assessments, location release forms and getting permission from the council to film outside.

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Booking out and taking care of the equipment was a large priority of mine throughout both pre production and production. I got in contact with the New Adelphi Equipment store team and tried to establish how such a large booking would work.

I assigned Benjamin Oswell to book out camera equipment, Thomas Marshall to book out lighting and then got Lucia Violet to email me a list of sound equipment that we would need which I then booked out. I also organised Blackmagic inductions for all the camera operators as well as our director.

On the Friday of pre production week we picked up the equipment and safely transported it to Jesse's house, which acted as a hub for the equipment while we were not using it. Together we were in charge of transporting the equipment throughout production as my car was big enough to fit most of it.

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We recorded in three different locations: Morgan's House, Theatre (backstage) and Theatre (stage) and filmed scenes 1, 2, 13, 14, 5 and started 15. During this time, I secured the DPL for three days, picked up equipment that was needed, worked on call sheets and resolved issues as they came up. Most of my time was spent as an extra pair of hands when needed, as well as driving people and equipment, props and costume around to speed up the process. I slightly altered the production schedule to work around changes in availability and kept the group updated as soon as decisions were made.

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As there were no other girls available this day, I took over as make-up artist.

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We recorded in three locations over four days : Pint pot, Morgan's House (INT and EXT) and George's apartment. This week I spent a more active role on set covering roles and ensuring everything was done as efficiently as possible. I stayed on top of call sheets and kept track of the budget.

On the 26th, we had an issue with one of the cameras and the batteries were all out of charge so unfortunately we had to find time during reshoots week to finish the scene.

On the 27th, Jesse had to take a bit of time for his mental health as he had lost his phone so I had to take over as director for the majority of the day. I tried my best to follow the shot list and complete the scene, heavily relying on help from the first A.D. and camera operators. In the end I believe we made a scene that we were all as happy with as possible given the circumstnances.

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On the 3rd of December, we filmed in the DPL again completeing any shots we were unable to get the first two days of filming. As our head of hair and make-up was unable to attend, I helped out with some make-up attempting to follow photos from the previous shoot to the best of my abilities.

Our final day of shooting was the 4th of December where we finished the scene that we began on the 26th of November.

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Throughout the process I monitored attendence. This was helpful in writing the call sheets for days where we would not be able to call everyone in as I needed to know who was reliable enough to be there on time so we could get everything done as efficiently as possible. This was then sent to Clare at the end of the process so she had a better idea of everyone's attendence.

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A large part of my role as producer was allocating and overseeing the budget. I began by making a spreadsheet predicting how much we would spend within each department and how much I should give them leaving room for them to spend more. This drastically changed by the end of the production process as we were able to save money with locations and most of the costumes we found in the costume department that we were able to have for free. This meant we could spend more on props/set dressing and necessary equipment (eg. hard drive). Unfortunately, while I reminded everyone to keep their receipts as they went, there were a couple that went missing as so while I initially thought we had spent £245, we were only able to spend £230 which was disappointing to me as I would have liked to have got it as close to the £250 budget as possible.

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I compiled a list of receipts and sent them over to Mark Fox. I then agreed on a time to meet with him so collect the money.

I then asked everyone who bought something for their bank details so I could reimburse them.

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Our lead editor Joseph Healey had previously told me that he had come up with a timeline for the editing process in which he would have picture lock by Friday at which point he could pass over the edit to our other editor Lucia Violet who would work on sound and colour grading. Unfortunately, as we got into post production, the timeline was greatly shifted due to absense from Joe being at work. This was disappointing to me as his absence was not reflected in his availability form and if I would have known how little he would be there, I would have allocated Lucia to do more at the beginning or done it myself to speed up the process. I was quite concerned when it got to Wednesday evening before the friday deadline and we had only just achieved picture lock.

When me and Jesse watched the picture lock on Thursday morning, we were greatly disappointed to find that it had full scenes missing and shots that were crucial to the story. In addition, none of the audio was synched and one of the scenes was saved as an mp4 which meant we were unable to edit it. Jesse and I worked as quickly as possible to edit the footage so that we could hand it over to Lucia to do the sound. Lucia only worked on it for about 5 hours before she had to leave so me and Jesse had to continue the editing process ourselves over night. Friday morning, Joe was then able to quickly colour grade everything and we could add final touches.

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While I completely understand that as producer it is not my job to edit, it is my responsibility if the film does not come out on time. Jesse and I delivered the edit to the best of our abilities however there was a lot that we were unhappy with that would not have been an issue if attendence had not been so poor from our editors. While we were able to produce a film before the screening, I would have liked to have able to better reflect the crew's hard work as there were so many amazing shots that we were unable to use as we did not have time to add them.

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I kept in constant communication with everyone in our group as well as our mentor Clare. I drove equipment to each location ensuring we had everything at the end of each shoot. While filming I made sure to consider the ethical implications of what we were doing (eg. when filming outside, ensuring everyone was as comfortable as possible while still allowing for the shots we wanted). I also ensured we were following what was set out in the risk assessment at all times such as when we were using a knife, keeping it in a locked box until the second we started shooting and allocating named armours for it.

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Mad About You Production Schedule Updated

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actor agreement form Isabella Flynn Haddon

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actor agreement form isabella Flynn Haddon

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New Adephi Theatre Dressing Rooms Risk Assessment - Mad About You

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Old Pint Pot Risk Assessment - Mad About You

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Bella's Flat Risk Assessment - Mad About You

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Jesse's House Risk Assessment - Mad About You

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These Locations Release forms were sent out by Joseph Healey who assured me they were signed off. I unfortunately do not have access to the signed coppies.

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Location Release Forms - Excluding Jesse's House. 

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Made by Joe Cotham (props master)