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Mastery Workshop: Production Planning for TV, Film and Media

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A one-day workshop from award-winning film and TV producer, Carl Schoenfeld. These guided discussions and group activities are designed for film and TV professionals and media freelancers to understand the planning needs of their projects.

Mastery Workshops are designed for participants with some industry exposure. If you are looking to boost your career in the media industry, or are looking for your big break, these courses are for you.

  1. Producing for TV, Film and Media
  2. Production Planning for TV, Film and Media
  3. Film Industry Networking

This second of three workshops explores the planning procedures available for TV, film and media projects.

With many overlapping and sometimes contradicting ideas, procedures and forces coming together on a film set, uncertainty plays a big role when making a short, a TV series or a feature for theatrical release. Some story or filmmaking ideas don’t work out as anticipated and resources can suddenly become unavailable at a moment’s notice.

To mitigate these situations, on this workshop, we’ll explore diligent planning and communicating your preparations to a film crew.

The programme is led by voting member of BAFTA and award-winning film and TV producer, Carl Schoenfeld.

Carl Schoenfeld

Carl has over three decades’ producing experience in the film & TV industries, laying the groundwork for fresh approaches across filmmaking procedures and talent development initiatives. 
His ventures with the BBC, Channel4/Film4 and BFI, among others, have embraced emerging technology, explored new workflows and kick-started the international careers of the talent involved. 
Check out student testimonies from his previous courses on his LinkedIn profile:

https://www.linkedin.com/in/carlschoenfeld/ 
Carl Schoenfeld ©2019
carl@schoenfeld.co.uk

Please note: lunch is included in the price. Please let us know of any dietary requirements or allergies beforehand.
 

What I'll learn

In this second workshop, we consider how a screenplay doesn’t just have to be funny, scary or moving but also needs to double up as a technical document. 

There are clear requirements that need to be met before the main planning instruments (a production schedule and budget) can form the foundation of dozens or sometimes hundreds of cast and crew coming together and collaborating towards the director’s creative vision across days, weeks or even months.

Long established filmmaking procedures charge the first assistant director with the final production schedule and the production manager or line producer with overseeing and controlling the budget. 

However, early-career producers or directors often lack the resources to engage more experienced heads of department during the initial stages of getting a film made, and so have to draw up initial draft versions of both documents that clarify both the creative approach and the final cost that needs to be raised from investors. 

This can be a steep learning curve that demands decisions about the look of the final production: spontaneous or polished, simple or complex, location or studio? 
We’ll explore these ideas in the workshop.

“Deciding the Budget is one of the most creative things that a producer can do.” 
Christine Vachon, Producer
Boys Don’t Cry, Velvet Goldmine, Colette, First Reformed

 

How I'll learn

Through discussion and collaborative projects, together, we’ll consider both established methods as well as more flexible problem-solving approaches that may be necessitated by unexpected changes.

These include simple tools such as:

  • tech recces
  • risk assessments
  • contractual arrangements and regular production meetings building to more complex recruitment of relevant collaborators
  • chain of title (proving ownership of all intellectual property)
  • engaging the services completion bond to indemnify investors against potential losses 

    “Everyone usually thinks the director is the most important person on set. But as director I think the actors are—after all they're the ones who will ultimately propel the film. The flipside of this is that the most important person on the set can be the person who's not pulling their weight or pulling it in the wrong direction!”
Simon Rumley, director
The Living and the Dead, Red, White and Blue, Crowhurst

 

How to Apply

You can register for this course online. Click on ENROL NOW and follow the steps below:

  • Register your contact details online and verify your account
  • Go to your desired course page and click again on ENROL NOW. Follow the link to pay for your course

Course places are limited and available on a first-come, first-served basis. We would encourage you to enrol on your chosen course as soon as possible. If you prefer to enrol in person please visit us at one of our college Advice Centres or enrol over the phone via 0800 612 6008.

This course will be run subject to demand. If you wish to enrol within one week of the start date, please call us on 0800 612 6008 first to check the course is running.