Introduction - 
I am going to evaluate the pre-production requirements, processes and documentation within the film and TV sectors and look at how they apply to a range of different types of product within these sectors including examples of independent films, mainstream films and TV dramas. 

Pre-production Requirements:

Sources of Finance for the Product -
Having the available finance is crucial to making any media projects, in this case films. If smaller film companies or independent filmmakers don't have the funds to complete their project, there are many different ways in which money can be gained. Such as, the UK  Film Council’s New Cinema Fund. An example of this being used is the social British realist film that was produced in 2006 by Paul Andrew Williams and Ken Marshall, of Steel Mill Pictures, ‘London to Brighton’. London to Brighton had a budget of £80'000, which was funded by private equity and completion money from the UK Film Council's New Cinema Fund. It was filmed over 19 days, using guerrilla filmmaking. This shows that for some genre types, films can be shot under short time frames and low budgets. Thus, the UK Film Councils New Cinema Fund can help new producers to create their films to a good standard, despite having any doubts of finance. 
Another way of sourcing finance is through film festivals. Again, Steel Mill Pictures were involved in the use of this source of finance in the production of ‘The Cottage’ in 2008. The Cottage was Paul Andrew Williams' original idea as he set up Steel Mill Pictures with Ken Marshall, in 1995. When realising he didn't have the funds to produce the film, he gave up on the idea and made 'London to Brighton instead. This film became a massive success, as it was published in the film festival, then Steel Mill Pictures gained a lot of attention and equity through this, and a lot more than expected. Steel Mill Pictures then managed to raised a lot of money, £2.5 million in fact, to produce 'The Cottage'. 
The Microwave Scheme was a way of sourcing finance used by Rory Aitkens and Ben Pugh, working for Between the Eyes, when producing the film Shifty in 2008. The Microwave Scheme is funded by the government and is where you are given a set budget of £100,000 and challenges you to make a short film. From box office, the film then made £244,579, a £144,579 profit. 
Another source of finance for projects is called Kickstarter. This is a website that allows people to set up projects on there, and allows others to donate to that project in order for it to be completed. Thomas and star Kristen Bell launched a fundraising campaign to produce the film ‘Veronica Mars’, offering various incentives to those who donated $10 or more. It attained the $2 million goal in less than eleven hours. In its first day on Kickstarter, the project broke the record as the fastest project to reach first $1 million, then $2 million; it also achieved the highest minimal pledging goal achieved, and became the largest successful film project on Kickstarter at the time. On its final campaign day, the project broke the record for the most backers on a single Kickstarter project. 
Finally, a way that companies can gain enough money for new projects is through the profits they have made previously from other work. Such as. The Theory of Everything was produced by Working Title Films, owner by Universal Pictures. The budget of The Theory of Everything was $15 million through Universal Pictures. The Theory of Everything and Working Title Films as a whole are examples of a synergy. A synergy is where two or more organisations both have ideas for example, and then work together to create something bigger. So Working Title Films use this in all their films including The Theory of Everything as it is a synergy of Universal and Working Title Films and Universal fund the film and Working Title Films produce it.

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Requirements of the product (FILM) - 
    Life in a Day was  documentary shot by film-makers all over the world that serves as a time capsule to show future generations what it was like to be alive on the twenty fourth of July, 2010. To make the project truly global, they had to find a way to represent the developing world. They ended up buying about 400 cameras. These were set to widescreen and sent to around 40 countries. Various aid organisations distributed them among people in remote towns and villages. Each camera had two memory cards: one to send back to the producers and one for them to keep. They say their biggest regret is not sending out fewer cameras, maybe around 50, due to the sample size they got back and had to filter down. With a smaller amount, they could have sent along film-makers who could have taught people how to use the equipment. Also, the struggle of having to filter out the masses of footage not needed for the final production would have been significantly less with fewer cameras. 

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Logistical considerations - 
    The film London to Brighton (2006), made by Paul Andrew Williams and Ken Marshall of Steel Mill Pictures, was filmed in just 19 days. This was also filmed under a very tight budget also. To make this happen, they would've needed to plan thoroughly in order to plan for any mishaps that may have occurred during production. Such as, to film in just 19 days, each and every shot and scene would’ve needed to be planned out in pre production, to make certain that by the end of the 19 days every shot they wanted was filmed. 
    Also, during pre production, planning for events post production is vital as some employees such as actors and people behind the scenes may have clauses in their contracts to be paid extra if the film is a success. 

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Resources and regulatory requirements - 
    When working on projects in the media industry, there are different regulatory companies who control different aspects of the industry to ensure everything is being used and created to the correct standards. 
    One of these companies is the Mechanical Copyright Protection Society. They  were established in 1924 after a merge with the Mechanical Copyright Licences Company Ltd (MECOLICO) where they now currently represent over 17,000 composers, songwriters and music publishers. This not-for-profit organisation  has been fully owned by the Music Publishers' Association (MPA) since 1976. Their function has since then been to collect and distribute royalties for works that are released by a record company either by being downloaded or reproduced onto a CD, DVD or LP. The MCPS cover many areas within their work such as protecting music. They’re committed to protecting the value of music and ensuring our members are represented. It’s why they're fighting music piracy and tackling the changes that digital has brought to the industry. Also they handel licensing music, for this they collect royalties through licensing agreements with music users. These licences cover all kinds of music use, whether it’s for digital, broadcast or public performance. Supporting music is another area the MCPC cover, whether they're funding new music, championing established artists, or helping our members, they are there to support the future of music and its makers. Also they have a role in influencing policy. They work with the UK Government, Parliament, the European Commission, European Parliament and international bodies to influence public policy and legislation. They work with many different people and they collaborate closely with other organisations to create a supportive environment for music makers and an efficient network for licensing music.
Paying our members - PRS pay members their performance royalties through four main distributions each year: in April, July, October and December. MCPS pay members their mechanical royalties every month.
    Another regulatory company is IPSO. This is a company that considers concerns about content in newspapers and magazines, and also about the conduct of journalists. The IPSO handle complaints from people and conducts its own investigation into editorial standards and                                                 compliance. What they do is ensure newspapers and magazines follow the editorial code, investigate complaints about printed and online material, if serious findings are found they can fine up to £1 million, operate 24 hour anti-harassment line and provide advice to editors and journalists.
The Advertising Standards Authority or ASA is the self-regulatory organisation of the advertising industry in the United Kingdom. They’re an independent organisation founded in 1962 with their chairman being David Currie. Their headquarters are based in central London. Their role is to regulate the content of advertisements, sales promotion and direct marketing in the UK. The ASA checks that advertisements do not lie or make false claims about a product and anyone can ask the Advertising Standards Authority to investigate an advertisement. What they do is makes sure ads across the UK media stick to the advertising rules, in 2018, they resolved 33,727 complaints relating to 25,000 ads, their ambition is to make sure every UK ad is a responsible ad, they’re independent of government and their cost comes at no cost to the taxpayer, they monitor pretty much every ad across the UK. As a result of their work, there has been an increase of 53% of ads being either removed or changed.
The National Union of Journalists is an inclusive union and represents a broad range of media professionals. They strive to improve the pay and conditions of our members and protect and promote media freedom, professionalism and ethical standards. The NUJ is an active union, their members campaign and negotiate to ensure we are properly rewarded for the skilled work we do. They are represented across the media as staffers, casuals and free lances in broadcasting, newspapers, magazines, books, public relations, photographers and in new media. Founded in 1907, the NUJ is one of the biggest journalists' unions in the world. The National Union of Journalists is a trade union for journalists in the United Kingdom and the Republic of Ireland. The NUJ represents journalists working in a broader variety of roles than those listed in the ONS category their members also include photographers, producers, presenters, website managers, content providers, advertising copywriters, designers, social media officers, bloggers, podcasters, press officers, communications officers, photo and video journalists. They have 35’000 members. 
The Producers Alliance for Cinema and Television Pact is the trade association representing the commercial interests of UK independent television, film, digital, children’s and animation media companies. PACT supports its members with legal and business affairs advice and support, as well as a wide range of services and campaign work. PACT helps to shape the best possible regulatory and legislative environment for the independent production sector to grow domestically and internationally. The association has a strong record of success in campaigning for producers’ rights. PACT was highly influential in shaping the current production business environment and the Communications Act 2003, giving independent UK producers their intellectual property rights.  In just over a decade, the sector has grown from a cottage industry to a world-beating multi-billion pound business. PACT is socially responsible and seeks to influence the wider industry to commit to diversity on and off the screen.  Pact works closely with broadcasters and producers' groups to create training opportunities and promote fair access for all. 
    
The impact these factors have on each other -
Logistics and budget can have an effect on each other as if logistics such as travelling have to change or additional travel needs to occur. Such as in the shooting of ‘our planet’, the camera team were flew out to remote locations on several occasions to film a precise shot of a bird and on occasions they were not able to find or film the bird, so a plan to travel back to the location at a later date. Therefore, if something like this occurs, the extra costs will force  change in the budgets for the production. Also, if the shooting of a film goes over what was originally planned, production companies will have to spend extra in order to maybe re book locations or have to spend more in order to travel etc… Another factor is inaccurate budgeting in pre production may lead to a different sourcing of finance if the company doesn't have enough money and can gain the money needed. This occurred in the production of ‘Our Planet’, where they had to end up setting a crowdsourced scheme in order to raise the funds to continue the production of the film. Finally, all projects going through pre production will need to have checks over making sure the are following the rules and laws under all of the regulatory services within the media. 

The Established Industry Formats Used Within the Pre-Production Processes - 
Risk assessments are is a format used within pre production in order to prove that the activities taking place aren't too dangerous and that injuries can be prevented. Risk assessments will cover the risk of the activity, the severity of injury if it goes wrong, the likelihood of this happening and the control measures in order to prevent this from happening. Another format is writing scripts for the production. When doing this, there are certain rules to follow. Such as the scripts for ‘Harry Potter’, are written in size 12 font in a typewriter style font. This is good for relating to time as this makes the script roughly 1 page per minute. Finally, another format is the use of storyboards in pre production. These are used as a visual plan for directors and producers to roughly sketch out what will happen in a particular scene or entire film. 

The Functions of Pre-Production Processes, Reasons for Undertaking Them and the Impact They Have - 
As mentioned before, risk assessments are used within pre production to prove what companies are planning to do is safe enough. The reasons companies undertake the completion of these is because some premises may require a fully complete risk assessment to prove no injuries or deaths will occur during production in their premises or location. This builds a level of trust between the companies hiring the spaces out and the production team and also if companies can't build this level of trust and feel there is too much risk involved, they may cancel the shoot taking place. Scripts are used to obstruct the scenes and filming that will take place. They are made to make it easier for actors and staff behind the cameras to have an understanding of what's about to take place. This makes time shooting each scene less as everyone has a clear understanding of what to do. Also, these scripts are often watermarked or copyrighted, to ensure early leaks won't occur.  

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The Purposes of Pre-Production Documentation - 
    The purposes of pre production documentation is too ensure that every single part of production is planned and ready, meaning production can run as smoothly as possible. Also, these pieces of documentation can possibly make it easier to know how things will run if parts of production go wrong. Correct budgeting will help the production team to know this as if it turns out that the cast and staff need to travel again, which can be very expensive, they will have a clear idea of any spare money they have in order to pay for this. Risk assessments are used within pre production to prove what companies are planning to do is safe enough and to ensure to others allowing the production companies on their sites or premises that the likelihood of severe injuries occurring is very low. Scripts make the time on set when shooting scenes much easier and efficient due to the fact that all cast members and staff have a clear understanding of when and where to do things. The watermarking and copyrighting of scripts, is to ensure that if a leak of the script occurs, it can be taken down and the company can sue if they wish to do so. 

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Conclusion - 
    In conclusion, there are many different factors that come into play when completing pre production for large film projects, including pieces of documentation, pre production requirements and processes that are used and completed. These can all have many different effects if not completed correctly, so it is vital for production when pre production is completed correctly and in as much detail as possible. 

Bibliography/Webography - 
https://www.prsformusic.com 
https://www.ipso.co.uk/complain/who-ipso-regulates 
https://www.asa.org.uk 
https://www.nuj.org.uk/home 
http://www.pact.co.uk 
https://www.imdb.com/title/tt0490166
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