MAJOR PRODUCTION: REVIEWING FOOTAGE

2 days after we completed filming, we had a footage review. Put simply, all three of us sat and sifted through every clip we had filmed, matching them up to the specific scene and making sure that they worked. As a group we had to make sure we were happy with each clip, considering factors such as


- Lighting
-Acting/Performance
- Dialogue
- Framing
- Sound

As we were watching through, I was really happy with the quality of the camerawork that we had. I was quite taken aback at how clear and concise all of shots looked. On some of the shoot days, especially the ones that we did outside, we were slightly worried about how the lighting of the sky was affecting the shot. Obviously the clips always look different when viewing during an edit in comparison to the slight graininess of the viewfinder and I was really happy with how the majority looked. As we went through it because obvious that there was a few issues some a small amount of the scenes we had filmed, this was as follows:

Scene 14 - The coverage wasn't enough at the start of the scene, didn't have enough shots to show Marlo getting from one side of the garden to the other.
Scene 22/24 - These 2 scenes were filmed during the night, and whilst we had some lighting, they still appeared very dark, we and worked hard to prepare a memorial for this scene and personally I didn't think we saw the memorial clear enough to do it justice for the scene in the script.
Scene 23 - The reaction shots of Marlo were not working adequately enough, as the character had just witnessed his girlfriend being hit by a car we needed more of an emotional reaction perhaps with some more coverage.

These were the scenes that we knew we needed to re-film. As we had over 25 scenes to film I was quite happy with the outcome of all of this. I had another look over the budget and worked out that we had roughly £130 left. This meant that we were able to get our actors down for one more day and re-film! After liaising with all of the actors I worked out that we would be able to re-film on 15th March. This was the perfect time because it gives us around 2-3 weeks to make all of the necessary arrangements, it gives Laura a chance to rejig the scenes and make them work before the reshoot day and it is still in plenty of time for all of our edit deadlines.

MAJOR PRODUCTION: FILMING DAY FOUR

Day four of filming took place on Tuesday 18th February. This was our school shoot day, taking place at The Victory Academy in Chatham. I was really looking forward to the days filming, because I had put in a lot of work to get the location of a school that we were all happy with. At the beginning of the day I had to meet my contact at the school, who I had been corresponding with, she took me around to run me through health and safety for the day etc before everyone arrived. Whilst the majority of the filming was taking place in the classroom or just outside of, I was clear with everyone that I wanted everyone to stick to our classroom as a base, and only leave when we were filming outside. This was so we caused the least attention and disruption to the school on the day.

I got all of the cast and crew to meet me and Laura in the car park, the school is very big so we had to make sure that everyone knew where to go, we took turns walking them in and getting visitor badges for everybody. Filming was underway, it was quite an intense day as we had 8 extras, as well as our full group of cast members all for the first time. As the filming happened, everything ran really smoothy. Myself and Laura made sure the room was covered in our own posters, with the school logo that we had created. As we were only there for about 5/6 hours, I had set up a table with drinks and snacks on it for the cast and crew to pick on throughout the filming. The one main issue that we were faced with throughout the day, was the classroom had one window covering the entirety of the left side of the room. As we filmed the last scene of the day, we had to change the setting slightly and Laura had to change the shots she had planned. This was so we avoided the window completely as we didn't want to show that it was getting darker outside, as we needed it to be 11am.

What did I learn from Day Four of filming? 
- This day of filming reinforced the ethos of how important it is to meet your cast before you film and build up that relationship with them. This was our one and only day with Mike Kelson who was playing Mr Shipman, whilst the day was fine and he got on well with everyone, I think it perhaps would have made it all the more comfortable if we met him beforehand, as this was out last day filming everyone had already been with each other for a while and our morale was high to complete
- I was really happy and felt really proud of the location I had gained access for us to film in (this school) the location was great for all of our scenes and it went really well
- Importance of having extras was emphasised to me. I tried my best to advertise and get as many extras on this day of shooting as possible, due to the fact we wanted it to look like an authentic school. However, it was a struggle to get the perfect amount of people, so whilst it wasn't ideal, we worked with what we had. Also, after speaking with this group we hope to use the post production period to emphasis this picture of a school using sound design.

Call Sheet for Day Four:

MAJOR PRODUCTION; WRITERS PERSPECTIVE 2

Now that the filming is complete on Unspoken, I thought I would do my next writers perspective based upon the filming days. At first, it was really strange to see my work come to life and have so many people work on it to bring it all together. Over the filming days I was on hand to help with understandings of certain lines.

For example, the dialogue above, our actress portraying Nova asked us whether or not this line was meant in a sarcastic or serious way, I was able to confirm this so that the scene had the correct tone that it needed.

Also on the shoot days, I was on hand to confirm and tweak some lines. For example, our actor Mike who portrayed Mr Shipman, wanted to change some of the lines to feel more natural, as well as another line because it didn't make sense. Example:

During the filming process, I also had to change the location of Scene 16 (originally taking place in Marlo's bedroom). As we were filming I thought that because of Scene 15 taking place in the garden, it seemed strange to have Scene 16 take place upstairs due to day lighting, Scene 16 takes place immediately after 15, so it felt more natural for Marlo to go into his kitchen rather than his bedroom. Other changes include improvisations, I had the idea of filming to film Scene 19 in a vlog style, with the characters filming themselves on a phone. I thought this was a fun and different way of showing these characters in a fun and happy environment. This was an unscripted part that me and Laura briefed the cast on, allowing them to simply have fun together on the camera. 

I liked having the input from the cast because it showed that they cared about the project, i know that not everything I write will stay or make sense, sometimes I find looking at the same dialogue for a while as the writer it becomes difficult to come up with new and different alternate lines. This was beneficial for me. I was really happy with how the filming went from a writing perspective. Everything that I felt was important in the script managed to translate on camera, certain actions that I wrote such as the way Nova stood in contrast to Marlo (which was important due to Nova's character) were included throughout and I felt as though everyone really understood the meaning of the script. 

MAJOR PRODUCTION: FILMING DAY THREE

The third day of filming was on 15/02/2019, it was our must complex day so far as we were filming in 2 different locations. As the producer I knew that I needed to be prepared for the day logistically. I had arranged for the cast members to meet Laura at her house, to come with her to the locations so that they didn't have to worry about driving to and from different locations. The filming was first taking place in Binney Road in Allhallows, this was to film the following scenes

- Scene 14: Marlo and Nova garden scene
- Scene 17: Marlo and Nova kitchen scene, following out into the road to have conversation.

These were very simple and easy scenes for us to complete, I had schedule around 2.5 hours at this location to complete these scenes. Darcy (Nova) and Liam (Marlo) work well together as do our crew, this was our 3rd day of shooting therefore I was confident we would be able to complete these scenes to a great standard in the time allotted. We did however, have 2 unsolvable issues whilst filming. Scene 14 takes place at the side of the house, this meant that we had to compete with outside noise from the neighbours, this held us back slightly as all we could do was wait and film in the time that the noise went silent. As we moved onto Scene 17, we had some more noise issues. We had a few more shots left to complete the scene on the side of the road, however the issue we encountered was that it was bin day, this meant a bin truck was going up and down the road, stalling our filming for about 20 minutes. Luckily, this didn't delay us too much in getting on with the rest of the day, it was important that we waited the time so that we could get the shots Laura wanted without the issue of the noise. It was at this point of the day that we needed to travel to the next location for filming.

Our next location was on York Road in Maidstone, this is the location for the following scenes.
Scene 22/24 - Marlo standing over Novas memorial, emotional before his mum (Julie) turns up to console and take him home.
Scene 23 - Known as our flashback scene, this is the death of Nova.

We arrived at this location in our two different cars, on the way I had picked up lunch for everybody. We had just meal deals with sandwiches etc, as everyone could pick exactly what they wanted. Everyone was happy with this. Overall, the main issue that we had with this day was lighting. Scenes 22/24 take place in the night, so we knew we would have had to lit the scene. We had to play around with car and phone lights (as well as LEDs) to make it look as lit as could. This will depend upon the edit in terms of how this scene looks.

What did I learn on Filming Day Three?
A lot of these filming days are teaching me a lot about scheduling and timing constraints, this is the first project where I have been solely in charge of the timings and I have had to schedule each scene with allotted filming times. Thinking about day three, it would have perhaps benefits for us to split the locations into two different days. At the start, it made sense to have the both locations on the same day, they both only required half a day each so it made sense to do it all in one. However in hindsight I think we would have benefited from having them on 2 different days, yes the days would have been shorter but we would have been able to focus more on the locations and have more time to prepare for things such as sound issues and lighting.


Call sheets for Day Three:

MAJOR PRODUCTION: FILMING DAY TWO

Day two of filming took place on 12/02/2019. On this day we aimed to complete the majority of the scenes in the script that took place in the house. We were filming in Binney Road in Allhallows, our 2nd day with Liam as Marlo and our first day with Angela Harvey as Julie, Marlo's mother. I had created the schedule and emailed this to everyone involved, it was a tight day and I knew that we needed to try our best to stick to the schedule, mainly because of daylight.

Day Two Schedule

The day began with me collecting Angela from the train station. I had to bring with me lots of props to help with the set design of Marlo's bedroom, this included a box of different school and textbooks as well as sacks of clothing. The rest of the house is already very minimalistically decorated, which was part of our reasoning for choosing the house. We needed to make sure that the bedroom was specifically decorated for what we needed it to be, the scenes at the start of the day took place when the bedroom needed to be messy, books and clothes flown over the floor and the bed unmade. However further scenes that we were filming meant the room needed to be completely transformed into a clean, tidy and empty room. As the producer I was making sure that the room was looking the way it should in each scene, whilst other scenes in different rooms were being completed I made sure that Marlo's bedroom was set how it should be. 

As we were going through the scenes, I was overlooking the timings. We had to make sure that each s scene was being filmed in the correct lighting, as some of the scenes take place during the day, others in early evening and finally some in the nighttime. I had made, for the purpose of filming, a timing chart, detailing each scene number and the time of which it was going to be taking place. As we were filming I suggested that we change the location of scene number 17, originally it was going to be taking place in Marlo's bedroom. However i realised that with the daylight timings it probably wouldn't work as well, so I thought it better for Marlo to go straight in the kitchen for scene 17 (following on from the living room in scene 16) and for the scene to take place there. This worked well because it meant that we had sped the timeline of the day up, and the later scenes we had would be able to be filmed in more dusk light rather than having to wait for the pitch black dark of night. 

Overall day two of filming went really well, the scenes all worked in the way they should have, the location was dressed exactly how we needed it to be and the cast worked well together. The only slight issue that we encountered was with sound, the house is in quite a rural location and we had 2 dogs and chickens in the house to contend with. I made myself useful by keeping the dogs out of filming and keeping them quiet in the background whilst the camera was rolling, whilst also filling out my checklist of scenes. We had high winds also due to the rural location, which we had to just accept and film with anyway, something we will look to fix in post production.

What did I learn during Filming Day Two?

I learnt during this filming, that if a crew and cast are used to working with each other, a schedule can work well. On this day, our schedule was still quite tightly packed, but because of the fact we were in one simple location and it was our second day filming, we were all in much more of a filming flow which meant we stayed on schedule. Also, I perhaps learnt the importance of having a runner/someone to help up. Due to now fault of their own we had no one to help us on this day, it just meant that I had to do a small bit of running around, which I was happy to do so because it meant that I knew everything was getting done at the correct time. 

Call sheets for day two:

MAJOR PRODUCTION: FILMING DAY ONE

Day one of filming took place on Monday 11/02/19, the plan was to film scenes at Mote Park in Maidstone, followed by scenes at Mote Road. We had 2 cast members, Liam Wright-Airs playing Marlo and Darcy Keeble-Watson as Nova. I was quite apprehensive for the first day of filming, as it was our groups first time on a lengthy shoot and working with aspiring actors. I was also slightly worried about the schedule for the day, I knew that our schedule was tight but as long as we stuck to it, we would get everything done.



I began the day by collecting our actors, I drove them to the location (due to parking restrictions and prices) and went to meet everybody else. I wanted to make sure the cast felt really comfortable so I wanted to pick them up and chat to them on the way to the set, whilst Laura, Katie and other crew members were busy setting up and preparing for filming. I took the cast down to the location, introduced them to the crew members that they were yet to meet before leaving them with Laura to start getting ready to film. For the day of filming, I made sure I had my schedule printed; which detailed each scene and how long we should be aiming to take to film it. I also had my shooting schedule, which didn't include any times but a description of each scene, I thought during the shoot I can tick off as we film, making sure every scene is completed and we haven't missed anything. Throughout the shoot, I was helping in any way that I could, Laura was directing but as I had written the script, there was obviously questions throughout that came up from her, crew and cast that I helped to answer. Also, there were times where we had to adjust certain aspects of the script due to unforeseen circumstances, so I was there to help make those suggestions and decisions.

What went well?
-The start of the shoot got off to a slightly rough start, it took us a while to get the track and dolly working as we wanted (due to a missing part from where we had rented it from via Fat Lama). As ever, it was the first shot of the first scene on the first day of shooting, so I didn't expect that we would get filming exactly to schedule instantly. It got to around 11:30 and we were still trying to get the firsts scene perfect, I realised that it would be best if I moved Scene 23 (the only scene that day that we had to move locations for) to another day. I thought it would elevate pressure for Laura and the crew, knowing that the 2 hours we were going to be filming elsewhere for we now had saved. We had some spare time on Friday 15th (our third filming day) that wasn't scheduled, so I decided it was best to move it to that day, so that we knew we were no longer that behind on the days schedule.
-Within the group, I think we were good at deciding when something wasn't working, and fixing it straight away. For example, Laura wasn't happy with how the sound was coming out. We were using the boom through the tascam, as well as one clip mic for back up. However, due to the weather and building works that were happening where we were filming, Laura wasn't happy with the sound, and we needed to come to a quick and efficient compromise. I suggested to Laura that I go and collect another clip mic, as we was not far from uni. Laura thought this would give us a good clear and concise audio of both characters dialogue. Myself and Aimee who was helping us on the day went to get a clip mic, which really helped the audio for the rest of the shoot.
-The collaboration between the group I think went very well, Laura was there to direct but I was also around to answer any questions from a writer and producer perspective. As well as having Katie with her paper edit and storyboard to make sure we were getting every shot.

What didn't?
-I think that because this was our first shoot day as a group in nearly a year, as well as one of our first times working with professional actors, there was bound to be a few issues as we started. I think that our main issue that held us back on this first day was getting started, this wasn't anyones fault as we just needed more time to set up and get prepared, and the first shot always seems to take the longest and then sets the tone for the rest of the day. Whilst this didn't start out day off very well, we overcame this issue by switching the schedule up slightly to relieve the pressure of timing constraints.




What did I learn from Filming Day One?
For me, this shoot day was interesting for me to see how everything comes together. How the script comes to life through the camera. In the end, it was a really good day that set a good tone for the rest of the shoot, the cast got on well together and for the most part were perfect together on screen and the crew collaborated well together. As a producer, I felt that I tried my best to keep involved and make sure everything was running as it should be (both schedule and script wise), but also letting Laura take the film in the creative direction that she wanted to. Overall, the biggest lesson I learnt is to always be prepared. We had a lengthy delay in the start of the day because of technical issues, in addition to this it was our first day filming on this project so perhaps I should have allotted more preparation time and made the day a lot less hectic. After removing one of the bigger scenes from the schedule on the day, the timings and pressure, as discussed, were elevated. If I had perhaps done this before it may have saved some time.

Call sheets for day one:

MAJOR PRODUCTION; WRITERS PERSPECTIVE 1

For the production and post production stage of Unspoken, I wanted to make sure that I wasn't forgetting my role as a writer. I have decided that in order to keep my thoughts as a writer ongoing, I will keep a series of writers perspective posts to make sure I am still in the writers frame of mind. For this first writers post, I wanted to actually research what, if anything, writers should be doing during filming.

'Set Etiquette for Screenwriters' https://screenplayreaders.com/set-etiquette-for-screenwriters/ - documents how the role of a writer during filming can vary extremely. For example on a large film production, the director may want the writer present to ensure that the material is being interpreted and created effectively and as intended. However on a small and low budget production, the writer may double as a sound engineer. Another instance will be having the writer around to fix or tweak anything that may become unusable as filming goes along. More often than not however, a screenwriter goes through drafts and drafts of something, but once it is handed back over to the studio or the director, they will be completely done with it until the final film has been created and released. It completely varies from production to production.

I read a blog post by John August, who suggested that the writers involvement on set depends completely on the relationship that they hold with the producer/director. Some writers are sent a synopsis and will write draft upon draft, receiving feedback only by email until it is complete. Once they have completed the script they send it off, receive payment and never work on it again. This is what is known as a commissioned writer, they are commissioned to create dialogue around a storyline that has already been created. However, some writers, would be creating their own story, characters and setting. The script would be entirely theirs. This is the instances where they would sell and pitch their script to producers and directors that would option it to a studio to be created. In this instance, the writer would be heavily involved in the production. As long as the relationship they have with the director is a good and positive one, they would be involved in the production to help everyone understand the script as authentically as possible.

For Unspoken, I am the producer as well, so I will be keeping track of timings and scheduling and making sure props and locations are all in place as they should be, amongst other things. The two skills I would like to set myself for the filming to make sure that I am still working as both a writer and producer, as as follows:

1 - Be on hand to help the cast and Laura understand the script, correcting anything that may have been interpreted incorrectly as well as offering tweaks/alternate line changes to anything that perhaps doesn't work.

2 - Help to brief the cast on the few parts of the script that plan to be improvised, making sure that it is still what the script requires.

MAJOR PRODUCTION; POST PRODUCTION SCHEDULE

In the lead up to the pre-production phase of Unspoken, I needed to create a post production schedule. First of all, I need to research what this entails in order to adapt it effectively for my own.

A post production schedule is an outline of what needs to be done and when. It gives the editor a guideline as to how long they have to complete the project and what aspects need to be completed when. It is important for the directors and producers of a project to be on board with the editor, knowing what is being done and how the progress is going. I had a look at what the post production phase means to films, some of the points will be irrelevant for our film but I think it would be good for my own research to note.

Post Production Phase: 'The 13 Steps'
1) Pick an editing format, many different productions use a range of different editing softwares, be sure to do this before filming as it can impact upon the way that you film. As ever, Unspoken will be edited on Adobe Premier Pro. 
2) Hire a picture editor, this is the person who will read and understand the scripts before watching the rushes. With this in mind they will create a picture edit as to how they see the story working best, based upon the script. It is helpful to have an editor on board before you start production, as they will be able to advise on any post production issues that can be bared in mind during production.
3) Hire a sound editor, to focus on the often forgotten but extremely important part of a production, sound.
4) ADR - Automatic Dialogue Replacement, which means getting the actors in for any voiceovers that need completing if any of the sound from filming did not come out as planned.
5) Do Foley - recreating and recording the sound that was missed but should be included int he film.
6) Secure Music - the most advisable aspect of music is to get a composer. Copyright for already released and popular songs can become a major expense. For Unspoken, we have a musical composer on board who is producing and recording a few different songs for us to use. 
7) 'The Rerecording' - Now that the ADR, dialogue, foley and music is all complete, they should be layered on top of each other to artificially create a feeling of sound with depth, this is normally known as the recording session.
8) M&E - This is when a film sells the distribution rights to a film to the foreign nations.
9) Titles - When the editing of the film is complete, the titles and credits should begin to be thought about.
10) Get a DCP - This is when high budget films create a 'Digital Cinema Package', which contains a final copy of the film that is encoded so that it can be played in cinemas.
11) Get a dialogue script - in order for foreign territories to dub or subtitle the film they need a diagnose script that includes exact time-codes to help the dubbing artist.
12) Get a campaign image - a poster that you can begin to promote the film with.
13) Get a trailer - finally, edit together a trailer that will best promote and generate interest in the film.

Whilst not all of the aspects above are relevant to our production (in terms of obtaining rights etc), the 13 steps really help me to understand the post production phase. Post production is not thought about as much during the pre-production stage, however there is two reasons why it should, first of all  not having a post production schedule can cost you. In terms of having to fix sound, grading or music errors, money will be required. Secondly, for the quality of the production , as a film is made in the edit. The first step to create the perfect post production schedule is to make sure every step you are going to perform is on there. That means that anyone on the production team can look at the schedule and easily understand where the production is at.

Now that I better understand the post production stage, I know that I need to include the following:
-Grading
-Sound
-Posters
-Trailers
-Deadlines such as Rough/Fine Cut
These are the aspects that I have adapted based on the research.

Unspoken Post Production Schedule:

I decided to do the schedule day by day, I thought this would make it clearer and easier to understand. As well as this the type of edit we will be working with means that one day it could be sound and the next grading. I have sent this to my fellow group members and I hope that we will be able to stick by it as much as possible. Moreover, if there are any changes or issues that I encounter I can update our post production schedule accordingly. 

MAJOR PRODUCTION: BUDGET

With the budget, I had purchased a small book that I could use to keep track on-paper, with the spendings of the production. I thought it would be a good idea so that if Laura or Katie needed to know or had a question about the budget, I would be able to use this to show them more easily. I then plan to use this book at the end of each week, to update the budget on the computer.

Firstly, I needed to update the budget as I had more information on travel costs etc. I found out that for the majority of the time, our cast would be travelling by car, so I needed to decide how much we were going to pay per mile. I started to look on a few different websites, until I found the official government website advisory.

In previous units, I knew that we had paid in the region of 20-30p per mile, therefore knowing that the government advisory did not exceed 20p, I was happy to go with 25p per mile. I asked all cast for the postcode in order to calculate their quickest route to each location, and I calculated the cost of each cast members travel.

First and foremost with this, I needed to make sure the cast were happy with this payment, 25 per mile for us was the perfect amount because the budget could easily allow for it and as seen above, it exceeds the normal recommendation, so I hope our cast felt valued by this. Each cast member replied and were happy with the costs.

Another part of the budget that I had to update, was the props. To aid me in doing this I created a props sheet (seen in previous post) to help me in knowing exactly what we needed to buy. Most of the props were simple to find on supermarket websites, using this I implemented a cost of how much I wanted us to spend on these items. For example, I saw that there were bunches of flowers for £4 and £2 in Tesco, so allowing £20 to spend on this should have given us enough for the scene.

'Shrine Objects' denoted teddy bears that we would need for the scene, having already looked in the pre-production unit, I knew that teddy bears were on sale for 50p and £2 in Charity Shops, so allowing £5 for this would allow us to get a few for the shrine. Our props was the first thing that came out of our budget, we needed to buy the shrine a while before the shoot, so that we could leave it outside for the flowers to wilter, as in the film the memorial would have been there for over a month, so it couldn't look new.

Furthermore, in terms of food for the shoot, I followed advice from the pre-production unit of budgeting 6 pounds per person per meal. Even though on the day I decided to buy meal deals which cost on average 3 pounds, to allow for any extras and snacks I thought £6 would be an appropriate value.

On shoot days 1, 3 and 4 I purchased meal deals for everybody, as this was the easiest way to make sure everyone got exactly what they liked and wanted. In order to save some money and take advantage of the fact that we were filming in a house with a working kitchen, I bought food and made lunch for cast and crew on day two. 

In order to keep track of how much we were spending, I decided to create a spending tracker. I thought this would be a good idea for two reasons. Firstly, it is a simple way of counting down the budget as we spend, so I know exactly how much we have left after every purchase. Secondly, it would help to keep track of what we were spending over or under a specific category. For example, we spent 1 pounds extra on the flowers than what was budgeted, however we had underspent on the pocket watch by 3 pounds. 

MAJOR PRODUCTION: SCRIPT READ THROUGH

The script read through is a stage in pre-production when the films script is read aloud around a table by the full cast of actors. It is also attended by the main heads of departments within a production, such as producers, writers and editors. The read-through is a major milestone in the production  process, it gives the core filming making team an early insight into the projects potential and also highlighting any problem areas hidden in the scripts.

-Read throughs traditionally happen before any rehearsals, therefore actors are not expected to give stellar performances and to be blown away. Their job on the read through is quite simply to read the dialogue as it is written on the page. This gives the actors a chance to understand their character more and really get into the role as much as possible.

-For the writer, this should be one of the most exciting parts of the filmmaking process, after a long development stage, it will be exciting to finally see a project come to life. It is also extremely useful, because it allows the writers to see what works and what doesn't work on the script.

-For the director, it is also very important as they can start to see the chemistry between actors come to life. This helps for preparation to film, it will let the director know what they need to direct in terms of the characters actions and how they come together in their role.

-For big productions, a table read is a chance to 'sell' the movie. Producers would invite along investors to listen to the table read in a bid to generate more capital for the production of the movie.

I found that there can be different type of read throughs, in terms of on the day you can read through the script multiple times, but looking at it from a different and new perspective

-The First Read Through: Undisturbed, read through in a quiet place and read through to get the brain switched on.
-Technical Read Through: Make little notes throughout of actions and dialogue, for the director they can note certain camera shots that they are visualising whilst the actor is speaking.
-Action Read Through: Noting actions and additions that you want to the script.


I set up the script read through for Monday 4th February, it is a week before filming which is perfect because as the writer I can make any adjustments based on what did and didn't work on the read through, and get the final copy of the script out to the cast ready before filming. For us, this script read through is really important because it will allow the cast to meet and get to know each other before we start filming. We auditioned via self tapes so it's also a chance for us to meet the actors and break the ice before filming.

In preparation for the script read through, I have created a filming pack for all of the filming days, as follows this includes the filming dates and requirements etc, I want to make them feel as involved in the project as possible and I think this helps:

Research Links:
https://reeldealfilmschool.wordpress.com/2015/03/26/the-script-readthrough/
https://actingcoachscotland.co.uk/blog/tips-script-reading/