Audiovisual Project Breakdown

• When creating breakdowns for audiovisual projects, address specific script needs first.
• Collaborate with all production teams for comprehensive breakdowns, including elements not directly stated in the script.
• A scene example involves Maria watching TV and seeing Daniel in a contest.
• The script indicates the need for an actress for Maria, a sofa, and a TV.
• A technical script confirms the potential necessity for specialized camera or sound equipment as well as special features.
• If only elements from the script were included, Maria's living room wouldn't feel real, therefore center table, rug, dining tale, chairs, lamps are required.
• In addition to mechanical breakdowns by sequences, create other breakdowns, listings, or lists of needs.

Breakdown Process

• Complete mechanical breakdowns and select all locations.
• The production team provides breakdown sheets to all departments.
• Each department head creates needs lists based on the breakdown sheets.
• Below are the most important lists of needs.

Character List (Cast List)

• Accurately determine characters, physical traits (age, race, gender, height, build), and sequence.
• Identify character types (main, secondary, extras) and whether specialists or special extras are required.
• Organize and combine all character information with other production aspects.
• The production and wardrobe teams jointly create the character breakdown.
• Each character has a sheet with details of the actor, sequences, and wardrobe/props for each appearance.
• Breakdown from set breakdowns, grouping sequences by appearing characters.
• Organizes actors and their contracted days which saves money in the long run.
• Breakdown includes actor interventions and corresponding numbers in production by order of appearance.
• Distinguish that the number is not to be confused with the number of characters.
• States the actor's name.
• The actor's character name is listed.
• The sequence number is listed.
• The effect is listed (interior or exterior).
• Day and night effects are listed.
• Wardrobe numbers are listed.
• Location complexes are recorded.
• Specific decors are listed.
• Specific elements are noted.
• Another character breakdown presented, containing actors and locations.
• A locations breakdown is included with the following characters, Laries Golabert, Oskar Gow, Pep Garcia, Alejandro Casas, Pablo Viña, and Victor Tejera.
• Also helpful is a list combining actors and location, creating a plan showing actor/extra appearances in different location.
• This helps determine each individual's workdays per set at a glance.
• Actors in the scenes can be combined for optimal scheduling.

Internal Production Lists

• Lists that also relate to character coordination and those involved.
• Internal organization lists should contain personal data of participating actors.
• Lists like these are needed to make contracts and to cite actors.
• Only production and directing teams should have access to these confidential papers.
• These records are often referred to as either cast lists or casting lists, and they typically include the following data:
• The character's number in production is noted.
• The actor's name is listed.
• State national ID.
• List contact phone number.
• Address is listed.
• Email address is listed.
• List the representative's name (or agency).
• Representative’s phone number (or agency).
• Further data or comments are recorded.
• Indicate the opening and closing dates of their engagements, the length of time they will be filming
• The casting list or list of distribution may also be found under the term.

Extras

• Include days of interventions location, complex, and set location.
• Include the nature of their interpretation which includes: soldiers, walkers, etc.
• Include apparel and required attendance information.

Wardrobe List

• Schedule of clothing that will be worn by the actors.
• Some productions have little wardrobe, while others involve many actors and extras and often require numerous wardrobe changes.
• Wardrobe must be purchased, rented or custom made.
• Is is common for current television programs to work with large labels that provide clothing to be featured in the credits.

Wardrobe List Details

• The clothing should be listed as it appears in the action.
• Make a list describing the clothing and who will wear it.
• Wardrobe should be listed by generic name and also include years that indicated the type of clothing based on the environment.
• Should maintain file with info of heights, measurements, as well as sizes.
• Some clothes must be doubled, specifically ones that tear, rip or have to change during a shoot.
• Along with wardrobe lists, the department has other lists for gear to transport to the set for maintaining clothing.

Set and Location Lists

• These should present all locations, as well as sets built in a studio.
• One can start with a general list of locations from breakdowns by sequence.
• Create another list indicating the production sequences developed at each location.
• Include effect (inner or exterior), light effect needed (day, night, sunset, dawn), location setting (bedroom, bridge, plaza, office), and more for the setting.
• It’s important to include data on the location, permission, contact details, and phone number.

Sets List

• One of the art department’s roles is to develop a list of furniture and props for the scene being represented.
• The script often has several elements that a stage designer or decorator must provide for realism.
• A stage built from scratch in the studio should include all the components.
• Recreate parts that will appear in the shoot.
• Exterior and interior require elements that set up and match what the script suggests.
• May also require removing or hiding things or erasning them with digital editing.

Scenic Design List

• List should be prepared and categorized as to whether it's a furniture.
• Scenery is a vital part of cinema.

Set Dressing Breakdown

• Should include all necessary elements to complement the set that's not directly mentioned in the script.
• Should note the item's number, location, the complex and set in which appears, as well as information about it.
• Should also indicate the sequences to maintain the element to avoid matching problems.

Special Effects Dressing Breakdown

• Indicates objects directly stated in the script and included only if they are prominently involved in the action.
• Example is a cup of coffee containg poison.
• Note how much should be had in duplicates, in case of breaks.

Movie and Mobile Equipment

• These files should incorporate all the carriages, vehicles, camper vans, and trucks that are engaged in the activity.
• All needed information should be noted, as well as its origin and licensing.

The following aspects are to be regarded:

• The vehicle number assigned.
• The type of vehicle.
• Vehicle year
• Its attributes like bodywork appearance, color, and visible flaws.
• If any technicians are needed to drive and describe what they do.
• Spot which the car or other mobile is at.
• Setting a scene.
• Scenes in a movie or TV program that have standard coherence and formality.
• Each function is described with a level of detail for clarity.

Creature List

• Relates to the vehicles; creation of those typically falls to the production department.
• In this analysis, the location, time, and animal-related information are all critical to include.
• Animal, its species.
• Breed of animal.
• Given name of the animal.
• Accessories that are used by the animal.
• Handler or animal trainer is always in creation alongside its caretaker.
• Animals have to have adequate transport to the site, just as to their maintenance and nourishment, or where they rest during shooting.
• Animal scene filming can be complex.

Other Lists

• Each department needs to design its own set of items geared towards good creation.
• It would be the duties of each department leader to carry out those lists of needs and convey them to the supervisor of the manufacturing department.

Camera List

• Turrents notes that a film director's role is to record on material selected for a film.
• It makes a financial plan for the photography department and informs the crew of material that is recorded.
• The director of videography creates the camera listing, as well as the assistant to the camera.

Lighting List

• It is up to the Director of Photography, along with the Chief Electrician, to create a full list of the requirements for lighting in each place.
• It requires including plot diagrams exhibiting the positions and orientations for the pieces of lighting which can be used in the film.

List of Special Equipment

• This checklist describes the equipment which is not regularly applied in the shooting.
• The Key Grip (Head of Machinists) will compile this list.

Sound List

• The sound technician must produce detailed lists containing all equipment which is needed to capture and transmit audio.
• If recording with a live, reference, or wild recording is needed
• Lists with the types of sound tapes and equipment
• Plans exhibiting the positions of microphones, orientations, uses of boom arms, etc.

List of Music

• Collection of soundtracks to produce: custom, library, or pre-made.
• In the latter scenario, take action to acquire authorization privileges for its syncing.

List of Special and Visual Effects

• Those are the mechanical and electronic impacts or visuals that are applied during a live display, typically explosions, torrential rain as well as the digital visual effects of a later production process.
• There is a required complex preparation and format the application of the tools.

Makeup List

• There should be three distinct categories of make-up.
• The primary make-up applied to all of the actors used to balance this character's complexion and get rid of his blemishes.
• Corrective makeup to soften or remove skin imperfections from performers.
• The look of characters on the movie set so they are altered and indistinguishable is the use of character makeup.
• The scheduling and preparation is necessary for all types of make-up.

List of Archive Materials

• A list of every reference that is relevant is going appear in an archive; it should be available for creation.
• Any data, time or documentation, the data of all persons is provided along with a copyright which allows to be worked, and should be listed on paper work.

List of Team Members

• This record must include those from the manufacturing team.
• People need to see their name in the team, that can be a great way to help them see as a more intimate and to promote it.