Elad Tzadok, Oh Hey Its a Ghost - Pickups (part 1&2)

Elad Tzadok, Oh Hey It’s a Ghost Pickups ( scene 6 & scene 17 )–FIPR 437

Written and directed by Jacob McNeil

Oh Hey It’s a Ghost

By

Jacob McNeil

Final Draft Jacob McNeil

[email protected]

1 INT. ENTRANCE OF JON’S APARTMENT. NIGHT. 1

In a typical college student’s apartment people are drinking

and chatting. EMILY, cynical and world-weary at 21, leans

against a wall. GARY, a goofy 20-year-old, stands nearby

looking at his beer, thinking. Finally he raises his head.

GARY

I’m finally going to do it, Emily.

I’m going to ask April out.

EMILY

You’re drunk.

GARY

I’m serious. The second she walks

through this door.

EMILY

Gary, follow my finger.

Emily waves her finger back and forth in front of Gary, who

looks confused.

GARY

What?

Emily takes his bottle away.

EMILY

You’ve had way too much.

Gary reaches for his bottle, but Emily is already drinking

from it. Just then the door opens and APRIL enters with

CHRIS. They are laughing and walk by without noticing Gary.

GARY

April?

Gary stares at them while Emily watches, concerned. After a

moment’s hesitation Gary follows.

2 INT. JON’S LIVING ROOM. NIGHT. 2

Gary makes his way across the apartment but is cut off by

other party-goers. When he gets there he finds Chris and

April by the wall, arms around each other. They are talking

animatedly. Gary stands shocked until April notices him.

APRIL

Gary!

April leans over and grabs Gary, pulling him in for a hug.

(CONTINUED)

CONTINUED: 2.

APRIL

I didn’t know you were coming!

April lets go and turns to Chris.

APRIL

This is my friend Gary. Gary, this

is Chris.

Chris shakes with Gary, leaving an arm wrapped around April.

CHRIS

Hey.

GARY

Uh, hi.

APRIL

Hey, a bunch of us are heading to a

club later. Did you want to come?

GARY

Uh, no thanks. I have to go. I just

wanted to say hi before I, uh...

said bye.

Gary turns and leaves.

APRIL

Oh, okay.... bye, Gary.

Chris whispers something in April’s ear, and they resume

talking as Gary slinks away.

3 INT. ENTRANCE OF JON’S APARTMENT. NIGHT. 3

Emily salutes as Gary approaches; without breaking stride he

grabs his beer back, takes a drink and walks out the door.

4 EXT. STREET. NIGHT. 4

Gary exits the apartment, pausing to look back at the

illuminated window; MUTED PARTY NOISES can be heard.

Gary walks into the street, traveling along the yellow line.

He pauses near a street lamp, takes a drink and throws the

bottle to the ground, shattering it. A CAR CAN BE HEARD

APPROACHING but Gary pays no heed as he walks out of frame.

The car enters frame seconds after, and swerves to miss the

pile of broken glass in the street. As it exits frame it

HONKS, a sound followed by SCREECHING TIRES and a THUD.

3.

The title appears on screen: "Oh Hey It’s a Ghost"

5 OPENING CREDITS PHOTO MONTAGE 5

Upbeat music plays as we are treated to a set of photos of

happy party-goers. The photos progress to show startled

people going to the window, leaving the party and finally

reaching the accident site. The music remains upbeat as the

people in the photographs grow horrified. A photo depicts

Emily kneeling next to Gary’s body and yelling for help. The

last photo shows April upset and walking away.

6 INT. APRIL’S KITCHEN. MORNING. 6

April exits her bedroom and walks into the kitchen,

rubbing her forehead. She passes Gary, who is standing in

the entry hall, but does not notice. Suddenly she stops and

turns, tensing up as she realizes Gary is there.

GARY

Uh, hi.

April screams.

APRIL

You’re... you’re dead!

GARY

Is... is that a problem?

APRIL

What the hell is going on?!

GARY

Well, I was sort of drunk when I

left the party last night, and then

I woke up here... I thought I must

have done something stupid until I

walked through a credenza.

April stares at him, stunned.

APRIL

You walked through it?

GARY

Yeah. Take a look.

Gary shoves his hand through a light switch on the wall,

causing the lights to flicker. He shakes his hand out.

(CONTINUED)

CONTINUED: 4.

GARY

Huh. Didn’t know that would happen.

April’s tension drops as she begins to understand.

APRIL

Gary... you’re a ghost?

Gary shrugs.

APRIL

What are you going to do?

GARY

I don’t know.

APRIL

Aren’t ghosts supposed to have

unfinished business or something?

GARY

I guess?

APRIL

Gary, focus. We need to fix this.

GARY

I just got flattened by a minivan.

I don’t think this is the kind of

thing we can fix.

April stops.

APRIL

Oh my god...Gary, I’m so sorry.

April moves forward to hug Gary. As she tries to embrace him

she passes through and falls to the floor. Gary and April

turn and stare at each other.

GARY

Sorry about that.

7 EXT. PARK. DAY. 7

April and Gary walk through a crowded park. People stare at

April as they pass.

APRIL

So what are you going to do now

that you’re... like this?

(CONTINUED)

CONTINUED: 5.

GARY

I was hoping I could stick around

your place.

APRIL

Really?

GARY

Sure. It’ll be fun.

April gives him a suspicious look.

GARY

And, uh, it’s not like I have

anywhere else to go.

APRIL

Come on, you have tons of friends.

GARY

Yeah, but... look, have you noticed

how people are starring at us?

April looks around at the other people in the park, many of

whom are sneaking glances at her.

APRIL

Yeah....

GARY

I don’t think they can see me.

April stops suddenly.

APRIL

Dammit!

GARY

Swearing just makes you look

crazier.

APRIL

So what, you’re invisible? I just

look like I’m talking to myself?!

GARY

I guess.

APRIL

This is bullshit.

A MAN on a bench gives her a strange look. April sticks her

tongue out at him.

(CONTINUED)

CONTINUED: 6.

GARY

Do you want to get out of here?

APRIL

That’d be nice, yeah.

GARY

Come on, I know a place we can hang

out where you won’t look nuts.

8 INT. MOVIE THEATER. DAY. 8

April and Gary sit in an empty theater. April is leaning

forward, engrossed in the film. Gary puts his arm around her

but she does not notice. April laughs and leans back,

passing through Gary’s arm. He sheepishly puts it down.

9 INT. RESTAURANT. DAY. 9

April and Gary sit across from each other in an empty

restaurant, talking. A CASHIER peeks around the corner.

POV CASHIER

From the cashier’s perspective we see April sitting alone,

talking to thin air.

10 EXT. PARK. DAY. 10

Gary and April walk back home across the park. April stops

and gestures for Gary to do the same. She takes a Camera

from her bag and holds it up while leaning close to Gary,

snapping a picture. A still image of the picture appears on

screen; Gary is visible only as a lensflare.

11 INT. APRIL’S KITCHEN. DAY. 11

The door opens into the kitchen; April and Gary are

mid-conversation.

APRIL

I’m just saying, dude, you’re

letting this thing go to waste. You

could be scaring old ladies, or

watching girls undress.

(beat)

Holy fuck, have you watched me

undress?

(CONTINUED)

CONTINUED: 7.

GARY

What? No!

APRIL

Because that would NOT be cool. You

keep those eyes to yourself.

GARY

Pssh. It’s not like there’s

anything you could do about it.

APRIL

My parents are Catholic. One phone

call and I can have an exorcist

here to bust your ass.

GARY

You wouldn’t!

APRIL

Wouldn’t I?

She forms a cross with her fingers and shoves it at Gary.

APRIL

Out, demon! The power of Christ

compels you!

Gary clutches his chest and does an exaggerated fall to the

floor. April’s cellphone RINGS, and she answers it.

APRIL

Hello?

12 INT. APRIL’S KITCHEN. DAY. / INT. EMILY’S HOUSE. DAY. 12

Crosscut between the two locations during the conversation.

Emily answers on the other side of the phone.

EMILY

Hi, April? It’s Emily.

APRIL

Emily. Uh... Gary’s friend, right?

Emily pauses before answering.

EMILY

...yeah. April, about Gary...

Gary picks himself up off the floor and starts making faces.

April tries not to laugh.

(CONTINUED)

CONTINUED: 8.

EMILY

A bunch of us were getting together

at the accident site, where he-

(Emily chokes up slightly)

-where he died. I thought you might

want to come.

APRIL

Of course.

Emily’s speech is stilted.

EMILY

I’ve... I’ve got to go...

Emily hangs up quickly. Gary continues to make faces at

April, who shakes her head.

APRIL

You jerk. Have some respect for the

dead.

GARY

What?

APRIL

That was Emily. Apparently you’re

getting a memorial.

GARY

Cool. Can I come?

13 EXT. STREET. DAY. 13

April and Gary arrive at the memorial where a small crowd

has gathered, including Emily & Chris. A bouquet of flowers

has been placed on the side of the road. JON, a stocky

engineering student, pours a bottle of wine into the gutter.

JON

Goodbye, buddy. We’ll miss you.

While April looks around Gary wanders off to explore. April

notices that Emily is standing off on her own, staring

blankly at the crowd. April walks over.

APRIL

Hello, Emily.

EMILY

Hi.

There is a brief awkward silence.

(CONTINUED)

CONTINUED: 9.

APRIL

This is nice. Did you organize it?

EMILY

Kind of. I called Jon, and he

called Lynn, and she called Chris,

and it all just came together.

APRIL

Chris is here?

14 EXT. SAME STREET. DAY - MEANWHILE 14

Gary stares at the spot where he died; flowers lie next to

it, and there’s still a bloodstain on the street. Nearby

Chris is talking to Jon.

CHRIS

Good turnout.

Gary notices them and looks over.

GARY

What the hell?

CHRIS

He seemed like a really good guy,

you know? I’ll miss him.

GARY

Jon, don’t listen to this guy. I

don’t even know him.

Chris and Jon ignore Gary.

JON

I know what you mean. Gary always

had my back.

Chris nods along as Jon talks.

GARY

Hey, don’t nod like you

know what he’s talking

about!

JON

This one time I was working

on a project, but the other

guy was a no-show.

Gary gets in Chris’ face and starts waving his arms.

GARY

Hey! Hey!

JON

It’s midnight before the

project’s-

(CONTINUED)

CONTINUED: 10.

JON

-due, I’m freaking out, and all of

a sudden Gary decides we’re

tracking this guy down right now...

Chris remains oblivious to Gary. Gary sighs and walks away,

shaking his head.

15 EXT. SAME STREET. DAY - MEANWHILE 15

April and Emily are in conversation.

APRIL

I don’t really know what’s up with

me and Chris. We ran into each

other on the way to the party, and

then... you know how it is.

EMILY

Gary was crushed when he saw you

together.

APRIL

What?

Emily looks surprised at April’s confusion.

EMILY

You know he loved you, right?

Gary walks over to April.

GARY

I think we should go. There are

jerks here.

April looks to Gary, then back at Emily.

APRIL

He... really?

Emily starts to smile.

EMILY

Yeah. Complete ’head over heels,

wouldn’t talk about anything else’

thing. It went on for months.

Gary realizes what they’re talking about and panics.

(CONTINUED)

CONTINUED: 11.

GARY

Okay, we need to go, right now.

April ignores him.

EMILY

It got kind of embarrassing.

Eventually I told him to either ask

you out or shut up.

APRIL

He never said anything.

EMILY

He would have wanted you to know.

April looks at Gary, who is horrified. Emily, realizing she

has said too much, grows concerned. Standing next to the

bouquet, Jon shouts to the assembly.

JON

Everyone! Everyone! If I could

please have your attention!

Everyone stops their conversations and turns to Jon. While

April’s attention is diverted Gary hurries away.

JON

Hi. My name’s Jon; I met Gary three

years back, when we lived on the

same floor in residence.

April notices Gary and follows after him.

JON

I just wanted to say a few words

about our buddy and what he meant

to everyone...

16 EXT. ANOTHER STREET. DAY. 16

Gary walks quickly down the sidewalk away from the memorial.

April rushes and catches up to him.

APRIL

Gary?

Gary turns to face her.

GARY

Look, Emily was blowing that

completely out of proportion.

(CONTINUED)

CONTINUED: 12.

APRIL

Why didn’t you say anything?

GARY

The time wasn’t right. Maybe after

you were used to this, we could

have...

APRIL

Could have...?

GARY

Look, I know this is a little

weird, and there’s a lot of stuff

we’d need to figure out, but I

think if we give it a try we could-

APRIL

Gary, look.

April passes her arm through his ghostly chest. Gary stares

down at it.

GARY

Huh.

APRIL

What did you think was going to

happen?

GARY

I got lucky once. I died and I

still got a chance to do things

right.

APRIL

You came back as a ghost... just so

you could ask me out?

Gary shrugs.

APRIL

Well?

GARY

Well what?

APRIL

Are you going to do it?

Gary looks surprised, but then steps forward and puts his

ghostly hands around hers.

(CONTINUED)

CONTINUED: 13.

GARY

April, would you like to go out

with me?

April giggles.

APRIL

That was cute.

GARY

It better be. I practiced that in

the mirror, like, a hundred times.

APRIL

Of course I’ll go out with you.

Gary tries to embrace April; instead he passes through and

stumbles to the ground.

APRIL

Sorry about that.

April sits on the sidewalk next to Gary as he picks himself

up and takes a seat.

GARY

It’s okay. It was nice to finally

get that off my chest.

The two stare down the street.There is a long silence while

Gary thinks.

GARY

Thanks for everything, April.

April looks back to him, but Gary is gone.

APRIL

Gary?

April stands up, looking in every direction.

APRIL

Gary?!

17 EXT. ANOTHER STREET. DAY. 17

Emily comes up to April, who is sitting on the sidewalk

crying into her hands. Emily kneels down next to her and

puts an arm over her shoulder.

(CONTINUED)

CONTINUED: 14.

EMILY (O.S.)

Are you okay?

April nods between sobs.

EMILY

Hey, hey, it’s going to be alright.

Don’t worry.

(beat)

Do you want to go somewhere and

talk?

APRIL

That... that would be nice.

Emily helps April to her feet and the two walk away.

FADE OUT

Shooting Dates: March 5, March 7th.

Limitations:

• Continuity: New material has to match old material. (both int / ext. scenes – matching late NOV. to early MAR.)

• Nate’s film is shooting till march 5th (Loosing a lot of original crew to this shoot)

• Most of the volunteer crew was not on the original crew or were but on different roles.

• Key Grip Stirling not available. • Actors ALL got haircuts • Weather forecast for the outside day is inconclusive – might get sunny (bad) • 2 days prior to shooting we still don’t know if Scene 6 will be a night scene or

a day scene. • Not enough time to plan and focus on pickups. • 2 location moves on Day 1 (back and forth to original location) in truck. • Day 3 is on Oscar night – people want to leave early to watch the show. • 2 green screen shots on Day 3 • Dima as 1st AC on Day 1(he’s great at this but this would be training to some

extent for him since he hasn’t done this alot)

Assests:

• Full Whites package + truck • HDX 900 + exact lens from original shoot (ENG, not my dream lens – but it

matches what they could give us first time around) • Two day shoot with a buffer day in between • Jeff Hitchcock (gaffer on original shoot) returns, familiar with locations, old

lighting plan, equipment, new lighting plan • Laura – she’s awesome. • Dima as Key Grip on Day 3 • Tight schedule for both days • Anna as 1st AC second • Meredith as 1st AD – we work well together

REF VISUAL MATERIAL IS PROVIDED IN VIDEO AS OLD SCENE FROM ORIGINAL SHOOT.

Scene 6 (Assignment - Part 1):

Goals:

1. re-think approach to scene to create a more interesting look (something that is not "uglier than the devil's face"):

-‐ We were trying to find a way to make the scene less ugly together with dealing with the performances. Together with the director we decided to change the blocking in a way that would give more depth to the image and not have it in-‐front of an ugly flat kitchen background.

-‐ it was unclear weather or not the scene was going to stay a night scene or change to a day scene until two days before the shoot. As a result I decided to take the full Whites package and not cut it down (something that proved to be a bit of a stretch for them on a short notice with the Olympics ending that week.

2. Create a successful 1-shot reveal of the Ghost Character.

-‐ Previously the reveal that we wanted to do as a 1-‐shot didn’t work. Together with the new blocking we wanted to get a new reveal for the ghost as a dolly out.

-‐ There is a debate as to the weather or not the Mathews doorway dolly would be able to fit in the tight hallway space at the location in order to get the shot. – plan B is to not get it through the hallway but start it from the doorway (which is what we ended up doing and worked fine)

3. Successfully shoot 2 key-able green screen shots in a tight location.

-‐ Because we were going to change the lighting in the scene regardless of weather or not it’ll be a night scene or a day scene – we would reshoot the two green screen shots in the scene.

-‐ This proved to be a slight difficulty do to our location and new blocking as the green screen was fairly close to the actors.

4. Create a transition in and out of the scene.

-‐ Myself and the director had to come up with an opening shot to the scene which would transition between the opening photo montage and the current scene.

-‐ We had to figure out what shot / beat we were going to end the scene on in order to provide a transition to the next scene.

Scene 17 (Assignment - Part 2):

Goals: 1. Match ext. Lighting in scene so new footage would blend in seamlessly to cut (the match was between a fairly cloudy, shitty day in November to what turned out to be one of the sunniest days in March)

-‐ Original shoot was on Cloudy overcast day (slightly rainy and very cold) – pickups for this scene was one of the sunniest days in march…

-‐ our game plan turned to light management and carful matching as close as we could. (and a lot of cursing) according to the lights package we were suppose to have two 12x12 frames with 12x12 solids and I thought we had a 12x12 silk. Turns out we only had one 8x8 silk and two 12x12 solids. When it comes to frames white gave us by accident two 20x20 frames. So we were stuck with solids that didn’t fit any of the frames.

-‐ We decided to create a curtain (T-‐bone frame?) from the top 20x20 frame held up with 3 skyhighs for support. And to tie up the two 12x12 solids to get as much direct sun blockage as we could.

-‐ The location was behind a building, which helped once the light started to set.

2. Correct Lighting match between angles (old cut has inconsistencies in back-light between the coverage of the two actors).

-‐ In the original shoot there was an inconsistency with the lighting between her coverage and his… Stirling originally placed as 1.2K HMI with an half CTO as a backlight and moved it closer as the day went on. It looked great at the end, but didn’t match anything we had before. So this time around we wanted to try and get the end result of what we did last time. – Didn’t quite work the way we wanted it to (sadly stirling wasn’t there and we didn’t remember exactly where it was) but at least the scene is consistent.

William F. White International Inc.8363 Lougheed Highway, #100Burnaby, BC V5A 1X3Canadawww.whites.com(604) 253-5050 (Fax)(604) 253-5055

Rental QuoteDate: 3/1/2010 Time: 2:02:49 PM Page: 1 of 5Order#: 60040463Revision: 0003

Order#: 60040463 Order Name : UBC - GHOST - PICK UPS - LXJob: 21123 UBC DEPARTMENT OF THEATRE, FIL - UBC FILM, ART AND THEATREBilling Address: UBC DEPARTMENT OF THEATRE, FIL Shipping: Main Lighting Package

Theatre - Film Prod. Building6538 University Blvd.Vancouver, BC V6T 1Z4 , Canada

Phone: (604) 822-2571 Fax: (604) 822-5985Ship Date: 3/4/2010 Return Date: 3/8/2010 Usage Period: 3/4/2010-3/7/2010Job Contact : Currency: CDNTerms: Net 30 Days Bill Type: Regular BillCSR: Michelle McIntosh (Fax#: (604) 253-5055) Ship Method: Payment Type: ON CREDIT P.O.: Location : Notes: ***INSURANCE REQ'D*** ***ALL GEAR IS SUBJECT TO AVAILABILITY AT TIME OF RENTAL***

Equipment Description Qty

HMIFIXTURE - HMI FIXTURESHMIFI0160 21.2K HMI PAR PACKAGE - LTMHMIFI0515 21.2K HMI PAR HEADHMIBA0003 2575/1.2K HMI BARN DOORHMILA0055 21.2K HMI PAR S.E. LAMPHMIHE0105 41.2K HEAD EXT 50'MAGBA0170 21.2K HMI BALLASTSCRIM0075 29" SCRIM SETSCRIM0700 4SCRIMS - FULL DOUBLE, 9"SCRIM0695 2SCRIMS - FULL SINGLE, 9"SCRIM0690 2SCRIMS - 1/2 DOUBLE, 9"SCRIM0685 2SCRIMS - 1/2 SINGLE, 9"HMILE0060 21.2K PAR LENS KIT - LTMHMILE0615 21.2K PAR MF LENS - LTMHMILE0620 21.2K PAR WF LENS - LTMHMILE0625 21.2K PAR SWF LENS - LTMHMILE0630 21.2K PAR FF LENS - LTMHMILE0650 21.2K PAR LENS CASE - LTMHMIFI0200 2575W HMI FRESNEL PACKAGE - STRANDHMIFI0560 2575W HMI FRESNEL HEAD - STRANDHMILA0075 2575W HMI FRESNEL LAMPHMIHE0140 4575W FRES EXT 50'MAGBA0210 2575W HMI BALLAST - STRANDSCRIM0080 27 3/4" SCRIM SETSCRIM0740 4SCRIMS - FULL DOUBLE, 7 3/4"SCRIM0735 2SCRIMS - FULL SINGLE, 7 3/4"SCRIM0730 2SCRIMS - 1/2 DOUBLE, 7 3/4"

Date: 3/1/2010 Time: 2:02:49 PM Page: 2 of 5Order#: 60040463Revision: 0003

Order#: 60040463 Order Name : UBC - GHOST - PICK UPS - LXJob: 21123 UBC DEPARTMENT OF THEATRE, FIL - UBC FILM, ART AND THEATRECSR: Michelle McIntosh Ship Date: 3/4/2010 Return Date: 3/8/2010


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INCANLAMPS - INCANDESCENT LAMPSINCLA0001 1INCANDESCENT SPARE BULBSINCLA0125 21K EGT LAMPINCLA0245 2650W FRK LAMP

KINOFLOFIX - KINOFLO FIXTURESKINFI0005 11 BANK 2 FT KINO PACKAGEKINFI0130 11 TUBE 2' KINOFLO HEADKINAC0015 11 BANK GRIDKINAC0035 11 BANK REFLECTORKINAC0020 11 BANK HARNESSKINAC0005 11 BANK BALLASTKINAC0025 11 BANK HEAD EXT - 25'KINAC0030 11 BANK MOUNTING PLATEKINTU0295 12' KF 5500 TUBESKINTU0300 12' KF 3200 TUBESKINFI0020 42 BANK 2 FT KINO PACKAGEKINFI0160 42 TUBE 2' KINOFLO HEADKINAC0050 42 BANK GRIDKINAC0070 42 BANK REFLECTORKINAC0055 42 BANK HARNESSKINAC0040 42 BANK BALLASTKINAC0060 42 BANK HEAD EXT - 25'KINAC0065 42 BANK MOUNTING PLATEKINTU0295 82' KF 5500 TUBESKINTU0300 82' KF 3200 TUBESKINFI0025 42 BANK 4 FT KINO PACKAGEKINFI0165 42 TUBE 4' KINOFLO HEADKINAC0050 42 BANK GRIDKINAC0070 42 BANK REFLECTORKINAC0055 42 BANK HARNESSKINAC0040 42 BANK BALLASTKINAC0060 42 BANK HEAD EXT - 25'KINAC0065 42 BANK MOUNTING PLATEKINTU0100 84' KF 5500 TUBES




KINTU0105 84' KF 3200 TUBESKINFI0040 44 BANK 4 FT KINO PACKAGEKINFI0175 44 TUBE 4' KINOFLO HEADKINAC0085 44 BANK GRIDKINAC0095 44 BANK REFLECTORKINAC0090 44 BANK HARNESSKINAC0075 44 BANK BALLASTKINAC0100 44 BANK HEAD EXT - 25'KINAC0105 44 BANK MOUNTING PLATEKINTU0100 164' KF 5500 TUBESKINTU0105 164' KF 3200 TUBESKINFI0085 1KINO FLO 15" PACKAGEKINFI0225 1KF KIT 15" BALLASTKINFI0230 2KF KIT 15" FIXTUREKINAC0495 2KF KIT 15" GRIDKINAC0510 2KF KIT 15" REFLECTORKINAC0500 2KF KIT 15" HARNESSKINAC0480 2KF KIT 15" 12V DIMMING BALLASTKINAC0025 21 BANK HEAD EXT - 25'KINAC0490 1KF KIT 15" DC CAR ADAPTERKINAC0485 1KF KIT 15" DC ALLIGATOR CLIP ADAPTERKINAC0030 21 BANK MOUNTING PLATEKINAC0515 1KF KIT 15" TRANSPORT CASEKINTU0390 315" KF TUBES 5500KINTU0395 315" KF TUBES 3200KINAC0475 1KF KIT 15" 120/12V POWER SUPPLY

KINOFLOTUB - KINOFLO TUBESKINTU0001 1KINO TUBE SPARESKINTU0100 84' KF 5500 TUBESKINTU0105 84' KF 3200 TUBESKINTU0295 42' KF 5500 TUBESKINTU0300 42' KF 3200 TUBESKINTU0105 44' KF 3200 TUBESKINTU0300 92' KF 3200 TUBES

FLOURTUBES - FLOURESCENT TUBESFLOTU0130 104' WARM WHITE TUBESFLOTU0330 42' WARM WHITE TUBES

LIGHTDIMME - LIGHTING DIMMERSLIGDI0125 31K DIMMER - VARIAC




CABLEDISTR - CABLE & DISTRIBUTIONCABDI0210 15A.C. EXT - 50'CABDI0215 15A.C. EXT - 25'

POWERSUPPL - POWER SUPPLY & INVERTERPOWER0035 230V BATTERY BELTPOWER0060 1BATTERY CHARGER 30V

STANDS - STANDS - LIGHTING & GRIPSTAND0001 4C- STAND PACKAGE - REGULARSTAND0005 42 1/2" GRIP HEADSTAND0075 440" C STAND EXT ARMSTAND0080 440" C-STAND D.R.STAND0290 4DOUBLE/TRIPLE RISER R.M. COMBI STANDSTAND9995 4DOUBLE RISERSTAND0305 4BABY DOUBLE/TRIPLE RISER R.M. STANDSTAND9997 2BABY DOUBLE RISERSTAND9996 2BABY TRIPLE RISERSTAND0360 2BABY PREEMIE STAND

Rental Subtotal: $150.00Rental Shipping: $0.00

GST: $7.50PST: $10.50

=========Total Replacement: $75,562.01 Total: $168.00

William F. White International Inc.8363 Lougheed Highway, #100Burnaby, BC V5A 1X3Canadawww.whites.com(604) 253-5050 (Fax)(604) 253-5055

Rental QuoteDate: 3/1/2010 Time: 2:03:56 PM Page: 1 of 3Order#: 60040465Revision: 0002

Order#: 60040465 Order Name : UBC - GHOST - PICK UPS - GRIPJob: 21123 UBC DEPARTMENT OF THEATRE, FIL - UBC FILM, ART AND THEATREBilling Address: UBC DEPARTMENT OF THEATRE, FIL Shipping: Main Grip Package

Theatre - Film Prod. Building6538 University Blvd.Vancouver, BC V6T 1Z4 , Canada

Phone: (604) 822-2571 Fax: (604) 822-5985Ship Date: 3/4/2010 Return Date: 3/8/2010 Usage Period: 3/5/2010-3/7/2010Job Contact : Currency: CDNTerms: Net 30 Days Bill Type: Regular BillCSR: Michelle McIntosh (Fax#: (604) 253-5055) Ship Method: Payment Type: ON CREDIT P.O.: Location : Notes: ***INSURANCE REQ'D*** ***ALL EQUIPMENT SUBJECT TO AVAILABILITY AT TIME OF RENTAL***


ALLHARDWAR - ALL HARDWAREALLHA0305 4BABY BASEPLATE 3"ALLHA0340 8BABY HANGERALLHA0500 1BARRACUDA POLE 9'ALLHA0505 3BARRACUDA POLE 6'ALLHA0670 5CARDELLINI CLAMP - END JAWALLHA0955 4MAFFER CLAMP C/W SPUDALLHA1155 12SAFETY CHAIN - 2'ALLHA1160 30SAND BAG - SADDLE

REFLECTBOA - REFLECTOR BOARDSREFLE0020 12' X 2' REFLECTOR BOARD CASE (2) UNITREFLE0050 12' X 2' REFLECTOR BOARD (SILVER)

STANDS - STANDS - LIGHTING & GRIPSTAND0004 16C-STAND PACKAGESTAND0005 162 1/2" GRIP HEADSTAND0015 220" C STAND EXT ARMSTAND0020 220" C-STAND D.R.STAND0050 430" C STAND EXT ARMSTAND0055 430" C-STAND D.R.STAND0075 1040" C STAND EXT ARMSTAND0080 1040" C-STAND D.R. [4-TB / 6-REG]STAND0140 4SKI-HI ROLLER STANDSTAND0180 1LOW COMBI R.M. STANDSTAND0290 4DOUBLE/TRIPLE RISER R.M. COMBI STANDSTAND9995 4DOUBLE RISER


Order#: 60040465 Order Name : UBC - GHOST - PICK UPS - GRIPJob: 21123 UBC DEPARTMENT OF THEATRE, FIL - UBC FILM, ART AND THEATRECSR: Michelle McIntosh Ship Date: 3/4/2010 Return Date: 3/8/2010


FRAMES - FRAMES AND ACCESSORIESFRAME0010 2FOLDING FRAME EARS (SET OF 2)FRAME0060 212' X 12' COLLAPSIBLE FRAMEFRAME0195 83' X 3' ALUMINUM FRAMEFRAME0250 32' X 2' ALUMINUM FRAME

BUTTEROVER - BUTTERFLIES AND OVERHEADSBUTTE0020 18' X 8' BUTTERFLY PACKAGEBUTTE0280 18' X 8' - DOUBLE NETBUTTE0970 18' X 8' - SINGLE NETBUTTE1140 18' X 8' - SOLIDBUTTE0890 18' X 8' - SILKFRAME0075 18' X 8' FRAMEFRAME0015 1ROUND TUBE FRAME EARS (SET OF 2)BUTTE0022 18' X 8' BUTTERFLY ADDITIONALSBUTTE0550 18' X 8' - GRIFFOLYN-B/WBUTTE0345 112' X 12' - GREEN SCREEN-DIGITALBUTTE1135 412' X 12' - SOLID

FLAGNETS - FLAGS & NETSFLAGN0017 124" X 36" GRIP BOX PACKAGEFLAGN0535 624" X 36" FLAGFLAGN0480 324" X 36" O.E. DOUBLE NETFLAGN0490 324" X 36" O.E. SINGLE NETFLAGN0505 224" X 36" O.E. SILK - WHITEFLAGN0590 124" X 36" FLAG BOXFLAGN0140 44' X 4' FLOPPY FLAG

WOODPROD - WOOD PRODUCTSWOODP0005 4APPLE BOX - FULLWOODP0010 4APPLE BOX - HALFWOODP0015 4APPLE BOX - QUARTERWOODP0020 4APPLE BOX- PANCAKEWOODP0070 1BOX OF WEDGES

LADDERS - LADDERSLADDE0140 1WOOD STEP LADDER 10'LADDE0150 1WOOD STEP LADDER 6'

CARTS - CARTSCARTS0075 1SAND BAG CART


Order#: 60040465 Order Name : UBC - GHOST - PICK UPS - GRIPJob: 21123 UBC DEPARTMENT OF THEATRE, FIL - UBC FILM, ART AND THEATRECSR: Michelle McIntosh Ship Date: 3/4/2010 Return Date: 3/8/2010


DOLLIES - DOLLIESDOLLI0130 1DOORWAY DOLLYDOLMI0200 1DOORWAY DOLLY - PUSHBARDOLMI0205 2DOORWAY DOLLY - SIDEBOARDDOLMI0210 1DOORWAY DOLLY - STEERING HANDLEDOLMI0020 1DOORWAY DOLLY - HOT BUTTON SETDOLMI0195 4DOORWAY DOLLY - HOT BUTTON WHEELDOLMI0190 1DOORWAY DOLLY - HOT BUTTON TRANSPORT CASE

DOLLTRAC - DOLLY TRACKDOLLT0225 3TUBE TRACK - 8' - MATTHEWSDOLLT0235 1TUBE TRACK - 4' - MATTHEWSDOLLT0255 2MATTHEWS 1/8 CURVED TUBE TRACK ( 20' DIA )

Rental Subtotal: $100.00Rental Shipping: $0.00

GST: $5.00PST: $7.00

=========Total Replacement: $26,934.85 Total: $112.00

of 3 Printed on 02/23/2010 At 09:31 AM

Sim Video West, Ltd. 5258 Lougheed Hwy Tel: 604-298-5258

Burnaby, B.C. Fax: 604-298-4336

Canada Email: [email protected]

V7J 3S5 Website: www.simvideo.com

GST# R-124362104

CONTRACT Description: HDX900 - Student pkg - Elad In Process#: OV15144

Sales Person: Steve Demeter Version #: 1

Event Name: Customer #: V3499

Customer:UBC Sudent Films (Oh Hey, It's A Ghost) Ship To:

5150 Camosun Street 5150 Camosun Street

Vancouver BC V6N 4J1 Vancouver BC V6N 4J1

Attn:Elad Tzadok Attn:

Phone:778-668-2721 Phone:778-668-2721

Fax: Fax:

Schedule Shipping Comments:

Remark Time Date

Delivery 4:00 PM 11/18/2009

Event Start Charge Start :11/12/2009

Event End Charge End :11/19/2009

Pick Up 10:00 AM 11/26/2009

ITEM ID ASSET ID QTY DESCRIPTION OUT DUE IN

HDX900 1 CAMERA PACKAGE;PANASONIC HDX900 11/18/2009 16:00 11/26/2009 10:00

HDX-900 HDX900-6 1 CAMCORDER;DVCPRO HD PANASONIC HDX900 11/18/2009 16:00 11/24/2009 17:16

MC900 MC90014 1 CAM ACC;ON BOARD MIC STEREO SUPER

DIRECTIONAL FOR HVX900/ HPX3000

11/18/2009 16:00 11/24/2009 17:16

AJHVF21G HVF21G-4 1 VIEWFINDER;PANASONIC AJ-HVF21G 11/18/2009 16:00 11/24/2009 17:16

PPS10A PPS10A-42 1 POWER SUPPLY;PCI-12V 10 Amp w/AC Cable 11/18/2009 16:00 11/24/2009 17:17

4PINXLR 1 CABLE;POWER 4 PIN XLR 11/18/2009 16:00 11/24/2009 17:24

RS55 RS55-2 1 CAMERA ACC;PORTABRACE RS-55 RAINCOVER 11/18/2009 16:00 11/24/2009 17:18

BASEPLATE 1 CAMERA ACC;BASEPLATE VCT-14 METAL 11/18/2009 16:00 11/24/2009 17:17

8172SR 8172SR-161 1 BATTERY;LITHIUM ION S-8172S SWIT (2 PARTS)

SR w/AB P TAP

11/18/2009 16:00 11/24/2009 17:23


SR w/AB P TAP

11/18/2009 16:00 11/24/2009 17:23


SR w/AB P TAP

11/18/2009 16:00 11/24/2009 17:23


SR w/AB P TAP

11/18/2009 16:00 11/24/2009 17:23

SC302S S302S-228 1 BATTERY CHARGER;SWIT SC-302S (No DC Out) 11/18/2009 16:00 11/24/2009 17:23

PORTACAM 1 CASE;PORTABRACE SOFT CAMERA BAG/CASE 11/18/2009 16:00 11/24/2009 17:24

11X4.5 11X4.5WRSD-5 1 LENS;CANON J11ax4.5B4WASD/WRSD/WRSE 11/18/2009 16:00 11/24/2009 17:17

HDTV/FX2 HDTV/FX2-1 1 FILTER;HDTV/FX FILTER 2 4X5.65 TIFFEN 11/18/2009 16:00 11/24/2009 17:22

MB19 1 MATTEBOX PACKAGE - ARRI MB-19 4X5.6 11/18/2009 16:00 11/26/2009 10:00

MB-19 MB19-11 1 MATTE BOX;ARRI MB19 4x5.6 3 STAGE

PRODUCTION

11/18/2009 16:00 11/24/2009 17:21

MB19VT MB19VT25 1 MATTE BOX ACC;MB19 4X5.6 VERTICAL TRAY 11/18/2009 16:00 11/24/2009 17:29


MB19RF MB19RF14 1 MATTE BOX ACC;MB19 RIGHT SIDE FLAG 11/18/2009 16:00 11/24/2009 17:22

MB19LF MB19LF14 1 MATTE BOX ACC;MB19 LEFT SIDE FLAG 11/18/2009 16:00 11/24/2009 17:22

MB20TOP MB20TOP9 1 MATTE BOX ACC;MB19/20 TOP FLAG 11/18/2009 16:00 11/24/2009 17:22

MB199.5 MB199.512 1 MATTE BOX ACC;MB19/LMB5 9.5mm MATTE

(ARRIFLEX 16)

11/18/2009 16:00 11/24/2009 17:23

MB1912 MB191212 1 MATTE BOX ACC;MB19/LMB5 12mm MATTE

(ARRIFLEX 16)

11/18/2009 16:00 11/24/2009 17:23

MB1916 MB191612 1 MATTE BOX ACC;MB19/LMB5 16-20mm MATTE

(ARRIFLEX 16)

11/18/2009 16:00 11/24/2009 17:23


(ARRIFLEX16)

11/18/2009 16:00 11/24/2009 17:23


(ARRIFLEX 16)

11/18/2009 16:00 11/24/2009 17:23


(ARRIFLEX 16)

11/18/2009 16:00 11/24/2009 17:23

MB19AS MB19AS2 1 MATTE BOX ACC;MB19 ADDITIONAL (3rd)

FILTER STAGE

11/18/2009 16:00 11/24/2009 17:22

MB19FF MB19FF9 1 MATTE BOX ACC;MB19 FRENCH FLAG HOLDER 11/18/2009 16:00 11/24/2009 17:22

FOLLOW 1 KIT;CHROSZIEL FOLLOW FOCUS 11/18/2009 16:00 11/26/2009 10:00

FOLLOWFO

CUS

FOLLOW-8R 1 FOCUS;CHROSZIEL FOLLOW FOCUS 11/18/2009 16:00 11/24/2009 17:21

CHLEFT CHLEFT2 1 FOCUS ACC;CHROSZIEL FOCUS KNOB LEFT 11/18/2009 16:00 11/24/2009 17:21

CHRIGHT CHRIGHT10 1 FOCUS ACC;CHROSZIEL FOCUS KNOB RIGHT

(EXTENDED)

11/18/2009 16:00 11/24/2009 17:21

CHCRANK CHCRANK16 1 FOCUS ACC;CHROSZIEL SPEED CRANK 11/18/2009 16:00 11/26/2009 8:15

15MMRA 15MMRA10 1 MATTE BOX ACC;CHROSZIEL 15mm ROD

ADAPTERS

11/18/2009 16:00 11/24/2009 17:22

VR70PHDSD

IK

1 MONITOR PACKAGE;MARSHALL 7" HD SDI V-

R70P w/ ACCESSORIES

11/18/2009 16:00 11/26/2009 10:00

VR70PHDSDI VR70P27 1 MONITOR;LCD MARSHALL 7" HD SDI V-R70P 11/18/2009 16:00 11/24/2009 17:19

2PAB4PXF 2PAB4PXLRF118 1 CABLE;POWER 2 PIN ANTON BAUER TO 4 PIN

XLR FEMALE 2'

11/18/2009 16:00 11/24/2009 17:20

2PAB4PXF 2PAB4PXLRF120 1 CABLE;POWER 2 PIN ANTON BAUER TO 4 PIN

XLR FEMALE 2'

11/18/2009 16:00 11/24/2009 17:20

PVM8045 1 MONITOR PACKAGE;PVM8045 MONITOR AND

CABLE

11/18/2009 16:00 11/26/2009 10:00

PVM-8045 PVM8045-5 1 MONITOR;SONY 8" COLOUR PVM-8045 w/AC

Cable

11/18/2009 16:00 11/24/2009 17:21

VID20 1 TRIPOD;SACHTLER VIDEO 20 TRIPOD

PACKAGE

11/18/2009 16:00 11/26/2009 10:00

VID-20 V20-23 1 TRIPOD;SACHTLER VIDEO 20 11/18/2009 16:00 11/24/2009 17:23

WEDGE 1 TRIPOD ACC;WEDGEPLATE W/ 2x Screws 11/18/2009 16:00 11/24/2009 17:25

100MMSLS 100MMSLS-16 1 TRIPOD LEGS;SACHTLER 100mm STANDARD

BALL LEGS

11/18/2009 16:00 11/24/2009 17:23

SPH 1 TRIPOD ACC;PAN HANDLE SACHTLER TRIPOD

ATTACHMENT

11/18/2009 16:00 11/26/2009 10:00

TRIHANDGRI

P

1 TRIPOD ACC;PAN HANDLE GRIP FOR

SACHTLER/OCONNER TRIPOD ATTACHMENTS

11/18/2009 16:00 11/26/2009 10:00

SSGROUND 1 TRIPOD ACC;SACHTLER GROUND SPREADER 11/18/2009 16:00 11/24/2009 17:23

MANUAL 1 EQUIPMENT MANUAL 11/18/2009 16:00 11/24/2009 17:17

LWSPCI LWSPCI-5 1 MATTE BOX ACC;LWS PCI w/ 2X4" 2X8" RODS 11/18/2009 16:00 11/24/2009 17:16

NOGAMED NOGAMED-6 1 CAMERA ACC;ADJUSTABLE ARM NOGA

MEDIUM

11/18/2009 16:00 11/24/2009 17:19

MB194X5.6V 1 MATTE BOX ACC;MB19 FILTER TRAY 4x5.6

VERTICAL

11/18/2009 16:00 11/24/2009 17:22

SK3136018 1 MATTE BOX ACC;FILTER TRAY - 4X4/5.6

COMBO CHROSZIEL CLIP ON (410-31)

11/18/2009 16:00 11/24/2009 17:23

HDCABL25 HDCABL25-68 1 CABLE;VIDEO BNC HI DEF 25' 11/18/2009 16:00 11/24/2009 17:23

15MMRODS

8

1 MATTE BOX ACC;15MM METAL BRIDGEPLATE

RODS <8" (SET OF 2)

11/18/2009 16:00 11/24/2009 17:25


UK716 1 CASE;UK - 716 HARD CASE 11/18/2009 16:00 11/24/2009 17:19



MB18R110 MB18R1101 1 MATTE BOX ACC;MB18/19/20 110mm BELLOWS

CHROSZIEL

11/18/2009 16:00 11/24/2009 17:27

CH110:85M

M

CH110:85MM-2 1 MATTE BOX ACC;LENS RING - 110-85mm

CHROSZIEL (CLIP-ON)

11/18/2009 16:00 11/24/2009 17:28


(ARRIFLEX 16)

11/18/2009 16:00 11/24/2009 17:23

FUJIZGEAR4

3

FG431 1 FOCUS ACC;CHROSZIEL FUJINON ZOOM GEAR

0.6 43 TOOTH 201-17

11/18/2009 16:00 11/24/2009 17:28

XLR4PIN10 XLR4PIN10-5 1 CABLE;POWER 4 PIN XLR 10' 11/18/2009 16:00 11/24/2009 17:18

4PINXLRHIR

OSHI

2 CABLE;POWER 4 PIN HRS MALE TO 4 PIN XLR

FEMALE

11/18/2009 16:00 11/24/2009 17:28

FF4PUCK FF4PUCK22 1 FOCUS ACC;ARRI FF-4 PUCK 11/18/2009 16:00 11/24/2009 17:21

FF4SWHIP SWHIP30 1 FOCUS ACC;ARRI FF-4 SHORT WHIP (33cm) 11/18/2009 16:00 11/25/2009 11:54

ARRI95 ARRI952 1 MATTE BOX ACC;ARRI 95mm STEP-DOWN FOR

114mm BELLOWS METAL

11/18/2009 16:00 11/24/2009 17:21

IMPORTANT:

I the Customer (or authorized representative) have read and specifically agree to be bound by all the terms and conditions

as detailed on this contract and in the Sim Video Equipment Lease and Services Agreement.

I further acknowledge that all information appearing on this contract is correct and the equipment in good condition.

CUSTOMER SIGNATURE (RENTOR OR

AUTHORIZED AGENT)

PRINT NAME DATE

OUT BY:

(SIM VIDEO)

Date: 5th March 2010Day: 1 of 3

Set Phone: 604-240-6879 Shooting Call: 10:00 AM

Producer Boris Malagurski Sunrise: 6:46 AMDirector Jacob McNeil Sunset: 1802 PM

Weather: Partly CloudyHighs/Lows: 11C

Lunch: 12:00 PM

Cast D/N Pages

5 D2 11,2 D2 21,2 D2 1

3# CAST Pickup CALLTIME H/MU REH SET

1 Alex Parra Self Arrive 12:45 PM 12:55 PM 1:00 PM2 Ashley Chomik Self Arrive 12:45 PM 12:55 PM 1:00 PM5 Clayton Champagne Self Arrive 9:45 PM 10:00 AM 10:00 AM

# CALLADD'L LABOR:

SPEC. EQUIPMENT:ART:

BREAKFAST:VEHICLES:

WARDROBE:GRIP:

LIGHTING:ANIMALS:MU/HAIR:

LOCATIONS:WALKIES:

Jacob McNeil Elad Tzadok Meredith Hama-Brown Alice Deegan Kat Jayme778-668-2721 604-313-4515 778-988-6902 604-240-6879

PLEASE NOTE THAT THERE ARE TWO SHOOTING LOCATIONS FOR THIS DAY*930am Call is to the Marguerite location, 1245pm Call is for the UBC campus location*

DIRECTOR Director of Photography 1ST ASST. DIRECTOR 2ND ASST. DIRECTOR LOCATION MANAGER

(M) = MINOR

SPECIAL NOTES

TOTAL

STAND-INS & ATMOSPHERE SPECIAL NOTES

GARY Please report to 1st AD on arrivalAPRIL Please report to 1st AD on arrivalJohn Please report to 1st AD on arrival

Total Pages:CHARACTER REMARKS

15

EXT. STREET - DAY

1706 W 51st Street ( Corner of 51st and Marguerite)16 1935 Lower Mall (UBC Campus outside of Place Vanier)17 1935 Lower Mall (UBC Campus outside of Place Vanier)

NO FORCED CALLS WITHOUT PRIOR APPROVAL OF PM. ALL CALLS SUBJECT TO CHANGE BY PM AND/OR AD'S.

WORK SAFELY: REPORT ALL SAFETY CONCERNS TO AD STAFF. NO VISITORS WITHOUT PRIOR APPROVAL OF PRODUCER

1706 W 51st (51st & Marguerite) @ 0930 / 1935 Lower Mall (Vanier) @ 1245Scene Set Description Location

oh hey it's A ghostCrew Call (unless otherwise noted)

9:30AMHospital:Vancouver General Hospital

899 West 12th AvenueVancouver, BC V5Z 1M9

604.875.4111

POSITION CALL TIME POSITION CALL TIME

Director O/C Key MU1st AD 1245 Key MU -2nd AD 1300

Designer O/C

DOP O/C1st AC 9202nd AC 920 Art Director

Decorator

Gaffer 920Best Boy Electric 1245Lamp Op 1245 Props MasterLamp Op - Asst. Props

Editor O/CKey Grip 930Dolly GripBest Boy GripGrip 1245 Script Supervisor 1245Grip - Script Supervisor -

Script Supervisor

Driver -Sound Mixer 930 Driver Per MHBBoom Operator 930 Driver Per MHB

Driver Per MHBDriver Per MHB

Producer / PM 920Stills 1245 Location Manager 1245Making of CamOp ALICE DEEGAN 1300 PA -

PAPA -PA -PA -

Craft Services PA -Craft Services PA -

PA

Please report to 2nd AD upon arrival

Additional Crew

PRODUCTION NOTES

Craft Services & First Aid

KAT JAYME LocationsHEATHER WEIGUM KAT JAYME

Production

BEN MCLENNAN/BORIS MALAGURSKIALEX POUTIAINEN

TransportationSound

Script Supervision / ContinuityGABRIEL ALDEMAN BECCA WASS

Post ProductionGrip

ALEX LASHERAS

MAX WESTGATE

ElectricJEFF HITCHCOCKTK WU Props

Set Decoration

CAITY BROWN

CameraELAD TZADOKDIMA KOLESNYK Art Department

ALICE DEEGANWardrobe

Direction Hair / MakeupJACOB MCNEILMEREDITH HAMA-BROWN

COSTUME:

ADDITIONAL CREW:

NAME NAME

oh hey it's A ghostCREW CALL 09:30AM Friday, MARCH 5 2010 DAY 1 OF 2

PROPS:

Date: 7th March 2010Day: 3 of 3

Set Phone: 604-240-6879 Shooting Call: 10:00 AM

Producer Boris Malagurski Sunrise: 6:46 AMDirector Jacob McNeil Sunset: 1802 PM

Weather: RainyHighs/Lows: 7C

Lunch: 2:00 PM

Cast D/N Pages

1,2 D2 2

3# CAST Pickup CALLTIME H/MU REH SET

1 Alex Parra Self Arrive 9:30 AM 9:45 AM 10:00 AM2 Ashley Chomik Self Arrive 9:30 AM 9:45 AM 10:00 AM

# CALLADD'L LABOR:

SPEC. EQUIPMENT:ART:

BREAKFAST:VEHICLES:

WARDROBE:GRIP:

LIGHTING:ANIMALS:MU/HAIR:

LOCATIONS:WALKIES:

Jacob McNeil Elad Tzadok Meredith Hama-Brown Alice Deegan Laura Good778-668-2721 604-313-4515 778-988-6902

PLEASE NOTE THAT IT WILL BE COLD AND RAINY AND DRESS APPROPRIATELY.

DIRECTOR Director of Photography 1ST ASST. DIRECTOR 2ND ASST. DIRECTOR LOCATION MANAGER

(M) = MINOR

SPECIAL NOTES

TOTAL

STAND-INS & ATMOSPHERE SPECIAL NOTES

GARY Please report to 1st AD on arrivalAPRIL Please report to 1st AD on arrival

Total Pages:CHARACTER REMARKS

6

INT. APRIL'S KITCHEN - MORNING

3854 W 18th St.

NO FORCED CALLS WITHOUT PRIOR APPROVAL OF PM. ALL CALLS SUBJECT TO CHANGE BY PM AND/OR AD'S.

WORK SAFELY: REPORT ALL SAFETY CONCERNS TO AD STAFF. NO VISITORS WITHOUT PRIOR APPROVAL OF PRODUCER

3854 W 18th (18th & Highbury)Scene Set Description Location

oh hey it's A ghostCrew Call (unless otherwise noted)

9:30AMHospital:Vancouver General Hospital

899 West 12th AvenueVancouver, BC V5Z 1M9

604.875.4111

POSITION CALL TIME POSITION CALL TIME

Director O/C Key MU1st AD 930 Key MU -2nd AD 900

Designer O/C

DOP O/C1st AC 9002nd AC 900 Art Director

Decorator 930

Gaffer 900Best Boy Electric 900Lamp Op Props MasterLamp Op - Asst. Props

Editor O/CKey Grip 900Dolly GripBest Boy Grip 930Grip 930 Script Supervisor 930Grip - Script Supervisor -

Script Supervisor

Driver -Sound Mixer 930 DriverBoom Operator 930 Driver

DriverDriver

Producer / PM O/CStills Location Manager 930Making of CamOp ALICE DEEGAN 930 PA 930

PAPA -PA -PA -

Craft Services PA -Craft Services PA -

PA

Please report to 2nd AD upon arrival

Additional Crew

PRODUCTION NOTES

Craft Services & First Aid

LAURA GOOD LocationsLAURA GOODKATHLEEN ADAMS

Production

PATRICK CARACASBEN MCLENNAN

TransportationSound

MACKENZIE SHEPPARD Script Supervision / ContinuityGABRIEL ALDEMAN JANE BELLETT

Post ProductionGrip

DIMA KOLESNYk

ElectricJEFF HITCHCOCKALEX POUTIAINEN Props

Set DecorationALICE DEEGAN

CAITY BROWN

CameraELAD TZADOKANNA MACDONALD Art Department

ALICE DEEGANWardrobe

Direction Hair / MakeupJACOB MCNEILMEREDITH HAMA-BROWN

COSTUME:

ADDITIONAL CREW:

NAME NAME

oh hey it's A ghostCREW CALL 09:30AM Sunday, MARCH 7 2010 DAY 3 OF 3

PROPS:

Additional problems that arose.

• Small production with several unreliable crew and key creative caused us to not have a sound guy on the first half of Day 1 – so I had to go and help setup sound instead of stay with camera and train new crew.

• Day 3 turned out to be a longer day than I anticipated – so I called the pre-‐called the grips and camera by half an hour to do some setup before hand.

• Our equipment pickup day was the same day as the returns from a lot of the Olympic rentals. Whites DID NOT count the gear as they were pulling it or loading onto the truck and we DID NOT count the gear as well (and I signed off on it). This caused a bunch of problems including the two 20x20 frames and whites wanting to charge us around $700 for equipment we never actually got:

o One 8’ track of dolly (which we never got and never took out of the truck)

o A box of florescent super greens (which they never loaded on to the truck

o A C-‐stand o A safty chain

• After an initial search they figured out that they never pulled the super green tubes

• They agreed to do an inventory of the Mathews track and found it the next day

• They gave up on trying to do an inventory for the C-‐stands and figured that since they fucked the count on so many things they’d drop the charge.

• We paid for the safty chain…

CONCLUTIONS:

• ALWAYS COUNT EQUIPMENT AS THEY LOAD IT TO THE TRUCK!!!!! • Spend the time to get what you need – this time around I REALLY didn’t have

time to go over the package and learn it inside out – so I wasn’t sure what we had, and I took out way too many things. (wanted to be safe because I didn’t know if we were doing a day or night scene, but still could have cut a bunch of things out of the list which would have made life easier – and cheaper if we wouldn’t have gotten the student deal)

• get crew involved as early as you can during pre-‐production. (it helps me think, trouble shoot and bounce around ideas as to options) it also makes the day run smoother and WAY faster. Everybody is on the same page.

• Always keep an eye out for shine / sweat on actors faces. Especially in a small crew shoot with no makeup artist.

• Deligate – have 1st AC deal with everything camera. • Expand my toolkit of what I can do / things I know I can fall back on. • Cutting / flagging / shaping light is just as important as seting light up. –the

role of the Key Grip is underestimated and misunderstood even at our filmschool level. Next time around I’d insist on a seperation of roles between

electric and grip – they are totally different mindsets and things to think about.

• Expect the unexpected?

Elad Tzadok, Oh Hey Its a Ghost - Pickups (part 1&2)

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Transcript of Elad Tzadok, Oh Hey Its a Ghost - Pickups (part 1&2)