So, you've got your film idea, its written down, and your wondering what to do next? What do the professionals do?

Well first, you've got to sell your idea to someone. That way you get the dosh to make your film. Or, if your at College, you get your tutors okay to begin work. So, in the immortal words of Eddie in 'Reservoir Dogs'... "Lets get to work".

Not every Production is there waiting for sponsorship. Sometimes Commissioning editors will invite Proposals for programmes. These can be one off dramas or a series of documentaries. The first step is to research the subject. After all, how can you make a programme about a subject that you know nothing about? So, you've done your research, your putting in a bid for a commision, or you have a project that you want funded. What do you do next?

To begin with, you need a Proposal. This sets out, vaguely, what your programme is about. Sometimes commissioners (i.e the people who hirer you to do the work) ask for 'bids', or Proposals, and then choose the one they like (or can afford!).

they'll expect what is known as a Treatment. This document is similar to the Proposal, but it goes into more detail, and includes estimated budgets for the production. Somewhere within this document you will include a Synopsis, a step by step run through of the production.

Hands up all those people that like maths? No one? I'm not surprised. Budgets, like so many processes in Video & Film production, are extremely tedious and boring. I'm the first to admit it. So why do we bother? I'll tell you why. For one thing, if we went shopping and found a rather nice Steps CD for sale and we found no price sticker, we'd search out an assistant.
Steps Fan: Excuse me... How much is this rather excellent Steps CD?
Assistant: Oh, err... I don't really know ... It could be £10.99... But seen as though there a crap band it could be £2.99... er, or £6.99... maybe..."

Its a crude analogy, but it gets the point across. We all want to know what we're paying for things, just to make sure that its value for money. When we put our own finances into a production, we want to know that everyone else is paying the same as us, and that nothing is wasted. If we are given the money, we don't want to find ourselves out of pocket or in breach of contract because we said we could make it for a certain figure and we didn't.

Next we need to decide where we are actually going to film the programme. This needs careful planning. There are agencies like the London Film Commission that can help in this area. So you have chosen you locations and they're ideal for your film. What next? You've allowed transportation in your budget so you can visit the locations. Excellent. You turn up on the day of shoot and your refused entry. Why? You forgot to ask permission!

Regardless of where you intend to shoot, you must always consider who owns the property or land. If its a private property, like a shopping centre, you will need to contact them, in letter form, to ask permission. You should spell out when you want to shoot there and how many crew members you will be bringing with you. Tell them what you are doing. If you are shooting action scenes they won't want you there during the day. Its just not safe. Be prepared to pay for access. Make sure that permission is put in writing. Its no good turning up on the day with just a verbal agreement to film. Always get it in writing!

Even on public property you generally need permission. A Police station or even the Law courts are considered private property, but if you turned up demanding access they'll throw you out the door. Whilst you don't need to inform the Police or the Local council what you are doing, as soon as you set up a camera in the street you are technically breaking the law. If in doubt, always check. It sounds like common sense, but if your using prop guns or knives always inform the Police. A colleague of mine once shot (pardon the pun) a gangster film in the street with fake automatic weapons and was surprised when a team of armed Police officers turned up. Its not worth getting shot! Sometimes, if members of the public are in your film, you may need their permission to use the footage. Bear this in mind.

Okay, so you've got permission and you turn up for the shoot. You set up your equipment and don't notice the water spillage right next to you electric generator/lighting rig. There's a short and your cameraperson is seriously injured, or a member of the public is hurt. So who's fault is it?

Well, yours of course. People have been known to die on film sets. There was a famous case in America about fifteen years ago when a leading actor and two young children were accidentally killed on set. It led to a drastic overhaul of the safety proceedures on film sets. There are ethical and legal responsibilities involved in film production, even at student level.

On every shoot you must carry out what is known as a Risk Assessment. A risk assessment is a document that lists all the potential risks at all of your locations and recommends actions that will reduce or eliminate those risks. Sometimes the risks are so great that they will cause a re-think, or cancellation, of the whole production. No film is worth somebody's life. So bear this in mind. It may be your life, your career, your passion... but its not worth it if someone gets hurt!

Lets not forget that, if your making a Drama, you'll need a storyboard. Storyboards are small cartoon like drawings that visualise the film. This can illustrate shot sizes, angles and special effects. Steven Spielberg rarely makes a film without storyboarding every single shot. Then you'll need a shooting script. This is like a script, but with indications of shot numbers so that the cameraperson and Director knows what is going on.

Stage 1. The Proposal.

A Proposal sets out your initial ideas to the commissioning party. This is not a detailed document, rather, it is more of an introduction, a taster. It must contain, however:
-Objectives of the production.
-An indication of the target audience.
-The distribution methods. Key production factors such as :
Style/ Genre/ unusual production techniques// Length & release formats.

Stage 2. The Treatment.

Stage 4. Crew & Services.

This is where you list all the people and services that you will require. i.e.:
Scriptwriter.
Production Company.
Producer.
Director.
Talent.
Editor.
Distributor.

Stage 5. Schedule.

When do you plan to have this programme completed? This is often, next to the budget, the most important point for the commissioner.

Stage 6. Synopsis.

This is where you go in to more detail as to what the programme will be about. This is a break down of the programme from scene to scene. In documentary, this is often impossible to do because it hasn't been shot yet, but you can still break down your intentions. A good way to remember what to write is to: Tell them what your going to do, do it, the tell them what you did!

Stage 7.Pre-Production.

Reccies. This is when you choose your locations. Reccies, short for reconnaissance, allow you to fit the places to the script (if your making a drama).
Risk Assessment. These are essential documents. They list all the potential dangers with each location and ways to minimise the risks. Who is at risk? Everybody on set, from the Cameraperson to the Talent.
Shooting Schedule. This document indicates, much like a diary, the dates available for each phase of production.
Call Sheets. These let your Crew/ Talent know when and where they are required.
Storyboards. Cartoon version of the shooting script.
Shooting script. The script including camera shot sizes and numbers.
Budget. Costing's for the production.