Eyeroc Media · Production Brief · Short 01 of 03
Glutton
burg
DramaPsychologicalDark Comedy8 Minutes
[Logline goes here. One line. Who, what they want, and what stands in the way.]
Glutton
Production at a glance
Everything is already scheduled
Schedule to Lock in
WK1
One on one session
90 minutes
90 minutes
WK2
Full cast rehearsal
4 hours
4 hours
WK2
Technical and wardrobe
3 hours
3 hours
WK3
Location screen test
4 hours
4 hours
WK4
Shoot day
10 hours, meals provided
10 hours, meals provided
1
Shooting days
1
Locations
3
Rehearsal days
10
Hrs
Hours on set, meals included
The World
The world of the film
A town that does not want you to leave
Two or three sentences on the world. What governs it, and what it does to someone who stays. Every department is dressing, lighting and playing this place, so read it before you make a single choice.
Departments and ownership
Every department has its own page listing exactly what it owns, what it does not, and what it needs from you on the day. If a question is not answered here, it is answered there.
Critical path
Producer NAME
Schedule, call sheets, permissions and the day itself. Runs the floor so the director can direct.
Critical path
Sound recordist NAME
Production sound. Cannot be doubled, cannot be fixed afterward. Gear rental covered.
Critical path
Art and set NAME
Set dressing and props. Largest slice of the budget and the biggest determinant of production value.
Assigned
Wardrobe and styling NAME
Sourcing, fittings, wardrobe tests, and continuity tracked across every setup.
Assigned
Gaffer and grip NAME
Lighting and rigging so the DP is not setting their own units.
Assigned
Script supervisor NAME
Continuity, script notes and the log that makes the edit possible. Works beside the director all day.
To confirm
Cast 6 confirmed, 2 pending
Lead, supporting and background. Background attend rehearsal and the shoot day only.
Assigned
Writer, Director, DP Jason Spicer
Script, shot list, performance direction and the image.
Who is on this
The people already in
Names, faces and departments, so nobody arrives on the day introducing themselves for the first time.
Jason Spicer
Writer / Director / DP
Name to confirm
Producer / 1st AD
Name to confirm
Sound recordist
Name to confirm
Art and set
Who to ask
Point of contact
Creative questions go to the director. Schedule, logistics and anything about the day go to the 1st AD. On the shoot day, everything goes through the 1st AD first, including creative, so the floor stays clear.
On the day, first call
Producer
1st AD
1st AD
[Name]
Schedule, call times, location, access, running late, anything on the day.
[phone]
[email]
Writer
Director / DP
Director / DP
Jason Spicer
Story, performance, framing, and any question where the answer changes what ends up on screen.
216 802 8500
jspicermmg@gmail.com
Art
and set
and set
[Name]
Props, dressing, anything entering or leaving the frame, and set condition on the day.
[phone]
[email]
Wardrobe
and styling
and styling
[Name]
Sizes, fittings, what to bring, hair and makeup timing on the day.
[phone]
[email]
Everything non urgent belongs in the production channel so the answer is visible to everyone. Direct messages create two versions of the truth.
Everything else
Everything you need to know, The Details
Shoot day: call, meals, wrap
Call at TIME with breakfast on the table. First setup by TIME. Lunch at TIME, a full hour, everyone sits and eats. Second meal if we pass hour eight. Wrap at TIME. Nobody is asked to stay past wrap without agreeing to it first, and nobody is asked to work through a meal.
Where the $2000 goes
Fill this in.
Gear, ownership and insurance
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Location, parking and access
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Communication and call sheets
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Wardrobe, hair and makeup
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Boundaries, safety and consent
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Credit, footage and usage rights
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What to bring on the day
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