Superior- Documentary Treatment

Our client is Philip Warner, the curator and sole member of staff at Northampton’s Museum of Leathercraft.Founded in 1946 by John W. Waterer with the collaboration of Dr. Claude Spiers; the museum hosts over 5,000 items spanning several centuries, cultures and crafts.Currently the museum resides within Abington Park; although this space is too small for their expansive collection.

Documentary Idea

Our documentary will focus around Philip Warner, our client and the curator of the Museum of Leathercraft.The documentary will explore the origins of Philip’s role as the curator, how he came to be involved with the museum and his personal goals for the museum.Philip will explore the educational benefits of the museum, whilst considering the ethical ramifications and moral dilemma of displaying artifacts of leathercraft and fur in museums.

Philip will lead the documentary, so as not to take the focus away from either him or the subject at hand. Philip will discuss his origins in the field of leathercraft and display some of the very first items he ever interacted with at the museum.This will be followed by a demonstration of how Philip and his assistant add a new item to the collection by date-checking it and identifying it, showing their set-up and the mounds of items they are yet to work through.

Philip will segue from the mounds of items that are yet to be displayed to items that he cannot display due to controversy such as its fur collection. Although he will note the museum itself may be considered somewhat controversial, he will explain his personal belief about the leather industry as a by-product.

Philip will open the controversy of displaying leather and fur up to vignette’s in the form of vox-pops. He will then reflect upon these and give his take on it.Philip will discuss how the museum itself is free from bias and exists as a snapshot into the social history of the artifacts independent of the debates surrounding them.Philip showing a particularly controversial item but discussing the educational remits of it in its social and historical context will follow this.

He will conclude that the museum is showcasing the artifacts to open ways of critically thinking about things you would have otherwise never considered, talking about the plethora of items that are yet to be unearthed in it’s current location. A plea to potential benefactors.

Subject to his answer, the documentary will conclude on a light-hearted question:‘Have you ever had a particularly racy leather collection donated?’

Key List of Questions

1. Who is Philip Warner?2. What is leathercraft?3. What sparked Philip’s passion for leathercraft?4. How does Philip feel about museum ethics?5. How does Philip deal with the moral dilemma surrounding certain artifacts?6. How do the public feel about these same issues?7. How many of the artifacts will see the light of day?8. What are Philip’s personal goals for the museum?9. Have you ever had a particularly racy leather collection donated?

Producer Statement

Overview

Shoot One: Curator of museumShoot Two: More museum stuffShoot Three: Fashion StudentsShoot Four: Debate Society

Problems and Solutions

Problem: Potential bias. Solution: Balance.Problem: Availability. Solution: Scheduling.

Key Roles and Responsibilities

Adam: ProducerJosh: DirectorSerkan: EditorAndy: CameraAndy B: Sound

Kit and Resources

Canon C100XLR to XLR input cordRode MicTascamFinal Cut Pro

Research and Developmental Process

Initial meetings with potential clientsFollow-up meetings and discussionsGuided tour of our location/recceSecondary sources research:

BBC Archival footage Macgregor N. (1992) A Catalogue of Leather in Life, Art & Industry

Director StatementDocumentary Visuals

The shooting style for the documentary will be very cinematic; to visually strengthen the argument that visiting a museum and interacting with the artifacts on a personal level is a much more rewarding and intimate experience than simply reading and researching about them.

The documentary will begin with Philip introducing himself and how he came to be the curator of the museum seated in the main hall as a mid-shot, intercut with shots of the artifacts he is discussing and the occasional close-up of him. Example, below:

Once Philip has given a brief introduction, the space will be established as we cut to a wide and reveal Philip getting out of his chair and approaching his work station.

Philip will continue to give information about his beginnings at the museum as he displays one of his very first artifacts, which will be displayed primarily with close-ups and over-the-shoulder shots.

The stock room will be established in a panning shot from right to left through the shelves as we rejoin Philip putting the artifact away and discussing the mounds of unseen treasures and their controversies. This will be a mixture of piece-to-camera and voice-over as the camera angle changes through the shelves and to some of the more interesting articles.

Philip will lead us into the museum in a point-of-view shot flagging up the ethical ramifications of his work, interspersed with vox pops.

The documentary will conclude as it began, cutting back to a seated Philip after the final vox-pop as he wraps up his thoughts in the same mid-shot.

Characters & Locations

Sound Design and Score

To ensure we capture the best quality sound, as well as using a boom mic on the shoot we are capturing audio with a Tascam to sync up in the edit.

Our point of focus in the documentary will center on the curator, Philip, with any fragmentation stemming from his own topics.

As Philip is passionate about leathercraft, we decided to let him lead the documentary as opposed to having a presenter interrogate him. This allows Philip to direct the documentaries narrative himself, with all tangent characters existing only to support his explorations.

The main location will be the museum itself, although the vignettes supporting Philip’s exploration of ethics will take place at Park Campus.

Superior- Documentary (Production Schedule)

Tuesday January 27 th

Shoot One: Museum

Tuesday February 3rd

Shoot Two: Museum

Tuesday February 10th

Shoot Three: Debate

Superior- Documentary (Call Sheet)

Superior: The Museum of Leathercraft (Documentary)9 Eliot Close Kettering NN16 9XR T: 07429178935

TITLE: The Museum of Leathercraft (Documentary)PRODUCTION NUMBER: 000001

CLIENT: Philip Warner (The Museum of Leathercraft)Contact: Philip Warner (Curator) Telephone:

SHOOT DATES: 3 DAYS

Tuesday 27th January Museum of Leathercraft, NN1 5LW Tuesday 3rd February Museum of Leathercraft, NN1 5LW Tuesday 10th February Park Campus, NN2 6JD

DIRECTOR: JOSH JAMES m: 07429 178 935 PRODUCER: ADAM MILLER m: EDITOR: ANDY m: CAMERA: SERKAN m: SOUND: ANDY BONNEY m:

CAST

CURATOR: PHILIP WARNER m:

Equipment Supplied by Northampton University:-Canon C100-Canon C100 Camera Battery (x2)-Canon C100 Camera Charger-SD Card-Tripod-Headphones-Camera Bag

FILMING SCHEDULE:

DAY 1 Tuesday 27th January

LOCATION 1

Abington Museum,Abington Park,Northampton,NN1 5LWT: 01604 838976

09:00 Crew RV at Avenue Campus

09:15 Set up shoot

09:30 Shoot

11:30 Lunch

12:00 Continue Shoot

14:00 WRAP

DAY 2 Tuesday 3rd February

LOCATION 2

Abington Museum,Abington Park,Northampton,NN1 5LWT: 01604 838976

09:00 Crew RV at Avenue Campus

09:15 Set up shoot

09:30 Shoot

11:30 Lunch

12:00 Continue Shoot

14:00 WRAP

FILMING SCHEDULE:

DAY 3 Tuesday 10th February

LOCATION 3

The University of NorthamptonPark CampusBoughton Green RoadNorthamptonNN2 7ALT: 01604 735500

09:00 Crew RV at Avenue Campus

09:15 Set up shoot

09:30 Shoot

11:30 Lunch

12:00 Continue Shoot

14:00 WRAP

HEALTH AND SAFETY

SHOOT DATES: Tuesday 27th January, Tuesday 3rd February & February 10th 2015.SAFETY OFFICER: Josh James

There will be a first aid kit available with production at all times. The safety officer has the authority to stop shooting until all health and safety regulations have been met.

THE CONSUMPTION OF ALCOHOL OR UNPRESCRIBED DRUGS IS NOT PERMITTED ON THE PREMISES DURING THE PREPARATION, FILMING OR STRIKING OF THE PRODUCTION. ANYONE WHO APPEARS TO BE UNDER THE INFLUENCE WILL BE REMOVED IMMEDIATELY FROM THE SET.IN CASE OF FIRE: EXITS WILL BE NOTIFIED TO ALL CREW

All the crew and cast have a responsibility to ensure that anything brought to their attention in the risk assessment is implemented and should bring any relevant information to the attention of the Health and Safety Officer.

IMPORTANT NOTES:

REPORT ANY ACCIDENT TO PRODUCTION HOWEVER SMALLREPORT ANY FAULTY OR DAMAGED EQUIPMENT TO THE PRODUCER / PRODUCTION MANAGER AS SOON AS POSSIBLEALL CREW ARE RESPONSIBLE FOR THEIR OWN TRANSPORT TO AND FROM COLLECTION POINTS AS NOTED ABOVENOTE THAT IN LINE WITH CURRENT HEALTH & SAFETY PROCEDURES, THIS PRODUCTION WILL RUN AS A ‘DRY’ SETPLEASE READ THE RISK ASSESSMENTS AND SUMMARY OF HEALTH & SAFETY POLICY ATTACHED _________

Production Hazard Assessment Form

Job N: 000001 Client: Philip WarnerShoot Dates: 27/01/15, 03/02/15 &

10/02/15RD

Locations: UK based Length: 10 MinsDirector: Josh James Producer: Adam Miller

HAZARD ASSESSMENT CHECKLIST – PLEASE INDICATE

1. Access/Egress 18. Lifting Appliances/Machinery

2. Aircraft/Microlights/Balloons/Parachutes

19. Manual Lifting or Lifting of Heavy Weights

3. Animals – Wild/Dangerous

20. Mines/Excavation/Quarries/Tunnels/Caves

4. Asbestos 21. Noise5. Public 22. Physical

Exertion (abnormal stress)

6. Hazardous/Toxic – Chemicals/drugs/organisms

23. Radiation - Ionising/Non-Ionising

7. Compressed gases/Cryogenics

24. Scaffolds/Rostra

8. Confined Spaces

25. Speed

9. Derelict Buildings/Dangerous Structures

26. Vehicles

10. Diving Operations

27. Violence

11. Electricity or Gas

28. Water/Proximity to water

12. Visual Effects: Explosions/Pyrotechnics

29. Weapons

13. Glass in Scenery

30. Weather/Extreme

14 Fire/Flammable Materials

31. Working at Heights

15. Heat/Cold 32. Other: (Specify) Construction Set Dressing

16. Inexperienced Child or Disabled Performer

33.

17. Lasers or Other Bright Lights

34.

NB. ALL INDIVIDUALS: DUE CARE AND ATTENTION TO BE TAKEN AT ALL TIMES WHEN ON SET. PLEASE BE AWARE OF YOUR SURROUNDING ENVIRONMENT.Detailed controls are identified and specific risks are detailed below.

Please be aware of the following:Whilst working or visiting the site do not leave equipment in fire routes or in front of doors.

When using work equipment ensure you route cables effectively to minimise the potential for trip hazards. If you are unsure how to carry out a task safely ask your supervisor. If you identify a hazard report it immediately to your supervisor or HoD. If using equipment for the 1st time seek advice from your supervisor or refer to the instruction manual.Please store equipment in a sensible manner and clear rubbish etc. away in a prompt and appropriate manner.In event of an evacuation make sure you report to your HoD and do not leave site or re-enter the building unless told to do so.

ACTIVITY HAZARD INVOLVED ACTION TO BE TAKENWorking on location Exteriors/Interiors

General As per risk assessment.

Working on location Running of electrical cables/lights/set etc

Hazard to members of public, cast & crew. All cables to be laid out with all possible care and adequately safeguarded as they are laid.

Use of props and construction

Hazard to members of cast and crew

Only adequately trained qualified staff are to rig, de-rig equipment with all safety precautions.

Handling of heavy equipment.

Possible strain or injury Bend knees not your back when lifting equipment. Please ask for assistance if and when required.