Hi all!

If you have come here, then you were given a direct link either by myself or by being a part of Kent Film Makers.

This page details what I want to work on in my current 'season' of filmmaking, which does not have a necessarily have a specific time period, because of work that usually arises in other industries. The productions are in no particular order.

I'd love to hear from people who would want to be involved in these projects (do so through the KFM Facebook page, rather than directly, as film is a collaborative medium).

I am not a good producer / scout / arranger, so I am seriously looking at someone for this side of things to get productions off the ground.


Summary: A 7min contemporary [almost] single-scene (not single shot) drama for 2 principles.
Leads: 1 Male, Steven - apparent age, late 20's.
1 Female, Marion - apparent age, late teens (6th form, FE, early HE etc.)
Support: None.
Others: None. 
Overview: Steven started life as a welder but has finally managed to finance his training as a teacher. In the process of writing one of his assignments, he is shocked to find Marion, a student whom he is reporting for cheating / plagiarism, turns up at his door late at night. Marion cons her way into his flat and proceeds to begin to blackmail him.
Locations: Sparsely decorated flat.
Duration: 7 mins by page count
Summary: An 8 min SF short set in the 1950s.
Leads: 1 Male naval officer (submarine captain), 1 Female. No limitations on casting, other than allowances for rank etc.
Support: 2 Male shore-patrol / naval ratings, limited screen time. One can be regarded as 'other'.
Others: None. 
Overview: The captain receives a girl caught on navy property by his shore-patrol who is not what she seems. This is the start of the cold-war and suspicions are high. While questioning her, it is clear that she really is not what she seems but not in the way that the captain suspects.

Option 1:
Submarine corridor and refectory used for an interview (originally written in regards to submarine at Chatham Dockyard). In practice, probably against green-screen.

Option 2:
Aircraft interior, with setting switched to an RAF base environment (both scripts, suitably modified, available)

Duration: 8 mins by page count
Summary: A 20min contemporary drama for 2 principles, with a double-twist ending.
Leads: 1 Male, 1 Female. (90% combined screen time). No limitations on casting, but must be believably at least 10 years into adulthood.
Support: 1 Male, 1 Female. (10-15% combined screen time). As above, but female must play a meek, mild-spoken Goth.
Others: Mixed background extras for restaurant scene; Waiter (non-spoken, no face shot); Post-man (non-spoken, no-face shot). 
Overview: Jenny and John are both back on the market, though for different reasons - Jenny has just gained a divorce, and John has been recently released from prison. While wanting to go straight, he is a long-term hardened criminal who can't operate in society without a gun in his jacket. Ultimately, they find each other via a dating agency against the background of recent serial killings in the area, which makes death / murder / horror obsessed Freda, Jenny's co-worker, overly anxious regarding Jenny's activities.

Front door (short: witness arrival of Decree-Nisi letter)
Prison Gate or similar (short: John is released)
Pub-bar (medium: John requesting help obtaining gun from an old friend)
Office (medium: Jenny and Fred's workplace - minor conversations)
Female Bedroom (short: Jenny getting ready for a date)
Hotel room, like a travel-lodge etc. (short: John getting ready for a date)
Restaurant (bulk/minor: Jenny / John on a date)
River embankment / Seawall walk (bulk: John / Jenny final scenes)

Duration: 20 mins by page count

When I refer to a Season, I always refer to what I want to produce as a batch, ending up with a complete and finished set of works (possibly combined into a single presentation) before moving on to others in my collection. The pieces may see parallel development, but I've been trounced too many times from past work in other industries that have destroyed my ability to finish tasks to set time limits on it all. I've started and failed to finish two MA's now due to over-work in FE colleges.

The pieces that I choose therefore, I know to be achievable in short time periods.

At the moment, I have about three dozen completely finished scripts that need to be made, ranging from 4 - 45mins in duration, covering mainly the contemporary and SF genres. I also have complete features and series fleshed out (complete with look-books etc.) - the last one of which was done for an MA in film with Raindance.

Because of my background in non-commercial film and also because of teaching in various drama schools etc. they are all achievable, even if some of them need my specific skills area (i.e. CG) to fully complete.

I'm looking at tackling three pieces in this current season.

I'm Craig Robinson, and I've been involved in CG / Design and IT since I was about 6 years old, so that's getting on for half a century. I decided ultimately to go into IT as a career (I'm a Chartered IT Professional specialising in Software and Databases, as well as a qualified teacher), so all of my CG and Design, as well as filmmaking (which I've been doing for the last two decades) has always been a side-line.

Ironically my highest academic qualifications (a PgDip) is in Digital Design and Design for Performance and Events, so it never gets used professionally!

As such, my production background is in the non-commercial and amateur world (note, money - not skill - the community has been around since 1934 with some of those filmmakers still around!), so I have certain ways in which I like to work. One of them involves using as small a crew as possible, and preferably in areas which individuals are not totally used to for skills environment (that's a teacher thing). Some things, like sound, I like to have skilled operators - this is because my full range of hearing (frequencies) is all messed up from operating in the wrong environments for too many years.

While I wear all hats, and have produced film completely solo, my specialist areas in film are Scriptwriting, Editing, SFX/VFX (including completely digital environments) as well as Camera and Direction.

Also because of my production background, I have built my own kit bag over the years rather than hire, so this includes a high quality full-frame 35mm DSLR camera setup (Sony Alpha99); a Canon Cinema-EOS compatible setup (XC-10, considered a B-Camera in the CEOS family) which I use a lot because of its flexibility and 4K, run-and-shoot nature; an original BMPCC giving super-16 digital-film qualities; and a BMPCC 6K super-35 13-stop HDR digital film camera. Naturally, if people can make use of this camera range in filming and I'm involved, I can certainly make it available if people find it desirable to use. Just be aware, in that in the later two cases (especially the BMPCC6k), you can build vast data-stores very quickly, and you also need the computer to process it!