RITUALADSFOR THE SAFEWORK BID · AUGUST 2026
Plan
view.

A construction site as a virtual location.
Drawn first. Shot from anywhere.

PLAN VIEW · THE SITE AS A VIRTUAL LOCATION
RITUALADS · FOR THE SAFEWORK BID
SHEET 00
REV A · AUG 2026
The best location in the script
is the one you can't shoot on.

A live site has a gate, an induction and a crane that stops for nobody's camera. It has weather. It has a real risk to a real crew. The shot list bends around all of it.

THE DAY · A SHOOT DAY ON A LIVE SITE
THE SITE SETS THE SCHEDULE
SHEET 01
REV A
The site is built
the way a site is built.

Survey the real thing. Draw it. Build it from the drawings. Put the cameras on the plan. Shoot. The drawing on this page and the drawing behind every plate are the same sheet.

THE METHOD · SURVEY · DRAW · BUILD · PLACE · SHOOT
ONE GEOMETRY, TWO USES
SHEET 02
REV A
Real sites. Real plant. Real kit.

The library the site is built from: photographs of real construction, real machines and real safety gear, and real working drawings, filed with their sources. Nothing on the site is invented from nothing.

SOURCES · every photograph, its author and its licence
    THE SURVEY · THE LIBRARY BEHIND THE SITES
    WIKIMEDIA COMMONS · PUBLIC DOMAIN AND CREATIVE COMMONS
    SHEET 03
    REV A
    Every site starts as a sheet.

    A site plan with the crane's radius, the exclusion zone, the gate and the numbered camera positions. A section through the work. Press a camera on the plan and the site appears from where it stands.

    The tower from camera one
    C1 · the roof across the street, RL +112, looking down onto the deck

    HOVER A CAMERA · PRESS TO HOLD IT · THE PLATE ON THE RIGHT WAS RENDERED FROM THAT POSITION ON THIS SHEET

    THE DRAWINGS · SITE PLAN, SECTION, CAMERA POSITIONS
    THE TOWER · SHEET A-101
    SHEET 04
    REV A
    The camera stands
    where nobody can.

    Under the load. Inside the swing. On the hook, riding in with it. On a live site the exclusion zone is a line the crew stands behind. On the virtual site it is a place the film can go.

    THE RADIUS · THE EXCLUSION ZONE AS A CAMERA POSITION
    SHEET A-101 · TC1 · JIB 55 m
    SHEET 05
    REV A
    The Tower.

    Sydney CBD · level 31 formwork deck · 11 AM. Dev is a week into his apprenticeship and would rather be invisible. Warren has thirty years and unclips to reach a load swinging in over the edge. Dev says two words. Warren clips on. At knock-off they sign out together with the harbour behind them.

    PRESS PLAY. THE APPRENTICE SPEAKS FIRST.
    THE CLIP · :30 · SHOT ON SHEET A-101 FROM CAMERAS ONE, TWO, THREE AND FOUR
    THE SHEET · A-101
    The deck from the roof across the street
    C1 · the roof across the street
    The deck edge and the hook
    C2 · the deck edge, the hook
    Straight down from the crane cab
    C4 · the crane cab, straight down
    The sign-out board at the gate
    THE CARD · the sign-out board

    Why it works. Falls from height are the number one killer on Australian building sites, and the film puts the camera on the edge, on the hook and a hundred metres down without a single person near a drop.

    THE TOWER · THE CLIP
    SHEET A-101 · SYDNEY CBD
    SHEET 06
    REV A
    The Cut.

    A regional highway upgrade · chainage 1+250 · 38 degrees. Mel has held the bat for nine hours. A loaded truck starts across the live road as a ute comes down it with the driver looking at his phone. She steps out and plants the bat. The truck crosses through the gap where the ute would have been.

    PRESS PLAY. WATCH THE BAT.
    THE BAT · :30 · SHOT ON SHEET C-201 FROM CAMERAS ONE, TWO AND THREE
    THE SHEET · C-201
    The cutting from the ridge
    C1 · the ridge, east along the cut
    The controlled crossing
    C2 · the crossing
    The edge of the swing radius
    C3 · the swing radius
    The roadwork sign
    THE CARD · the roadwork sign

    Why it works. Plant and people share a road for one second. The camera stands inside the swing radius and on the centre line of a live highway, and nobody on the crew does.

    THE CUT · THE BAT
    SHEET C-201 · REGIONAL NEW SOUTH WALES
    SHEET 07
    REV A
    The Frame.

    An outer-suburban estate · lot 4 · 4 PM. Jordan wants the last trusses up before four and the scaffold is only half built, so he goes to walk the top plate. It's ten minutes. Tam pulls the ute in and says ten minutes is how long it takes. The scaffold goes up first. The frame is done at four anyway.

    PRESS PLAY. TEN MINUTES.
    TEN MINUTES · :30 · SHOT ON SHEET A-102 FROM CAMERAS ONE, TWO, THREE AND FOUR
    THE SHEET · A-102
    The street from the south-west
    C1 · the close from across the road
    The yard, the trusses and the frame
    C2 · the yard
    Along the trusses from the scaffold
    C3 · top-plate height
    The banner on the fence
    THE CARD · the fence banner

    Why it works. A single-storey roof is the fall that keeps happening. The film lives at top-plate height for a minute, which is exactly where a real shoot cannot put a camera operator without the scaffold the story is about.

    THE FRAME · TEN MINUTES
    SHEET A-102 · SYDNEY'S OUTER WEST
    SHEET 08
    REV A
    The Possession.

    A rail corridor · 22:00 to 06:00 · 02:14. Six hours to do the work, the wiring still live, the isolation permit not through. Dale is losing the window. Priya keeps the basket a metre under the wire and says not till it's signed. The radio says isolated. The tag goes on the switch. At dawn they walk out along the track and the first train goes past behind them.

    PRESS PLAY. LISTEN FOR THE RADIO.
    THE PERMIT · :30 · SHOT ON SHEET R-301 FROM CAMERAS ONE, TWO, THREE AND FOUR
    THE SHEET · R-301
    The corridor from the overbridge
    C1 · the overbridge
    Beside the platform under the wiring
    C2 · under the wire
    The permit desk
    C3 · the permit desk
    The isolation tag
    THE CARD · the isolation tag

    Why it works. Night, live power and a clock: the three things that make a rail corridor the hardest location in the country to get a crew into. The film gets in for the price of a drawing.

    THE POSSESSION · THE PERMIT
    SHEET R-301 · A SUBURBAN CORRIDOR
    SHEET 09
    REV A
    The schedule never waits for the sky.

    One deck, four skies. The same plate from camera one, relit at dawn, at noon, under a southerly, and on a night pour. Weather is a setting. So is the hour.

    The deck at dawn The deck at noon The deck in a southerly The deck on a night pour
    06:15 dawn over the harbour
    11:00 the plate as fired
    14:00 a southerly comes over
    21:00 the night pour

    PRESS A SKY · EVERY OBJECT STAYS WHERE THE SHEET PUT IT

    THE WEATHER · ONE PLATE, FOUR SKIES
    SHEET A-101 · CAMERA ONE
    SHEET 10
    REV A
    One site. One film.

    Set the shoot as you would plan it on a live site, then weigh it. The value line is what those days cost you the old way. Our line sits beside it, by the month.

    $400K
    WHAT 2 SHOOT DAYS ON A LIVE SITE COST YOU, ONE DAY EACH AT $200K, BEFORE THE WEATHER DAY
    $45K
    A MONTH, ALL IN · EVERY SITE THE SLATE NEEDS, EVERY WEATHER, EVERY ANGLE, THE PLATES AND THE FILMS
    1 SITE
    THE SPRINT · $95K, NINETY DAYS: ONE SITE DRAWN, EVERY CAMERA, THE FILM
    SHOOT DAYS YOU WOULD NEED ON A LIVE SITE WHAT A DAY ON A LIVE SITE COSTS YOU
    WHAT YOU GET · the site plan and section, every camera position rendered, the film, and the same site relit for any hour or weather the edit wants
    WHAT YOU DON'T · an induction, a white card check, a crane stand-down, a weather day, a location fee, a safety officer for the camera department, or anyone near an edge
    THE LINE · THE VALUE LINE BESIDE OUR LINE
    BY THE MONTH
    SHEET 11
    REV A
    Send the drawings.

    A storyboard, a script, or the site you wish you could get onto. Back comes the site plan, the plates from every camera on it, and the film. The site is ready before the location scout would have been.

    Everything on this page was made for it this week: four sites, twenty-four plates, four films, three schematics and the drawings behind them, from a survey of real construction. The state's own lockup drops onto the card the day the bid is won.

    Next: your director picks the camera positions on the plan.

    PLAN VIEW · RITUALADS
    FOR THE SAFEWORK BID · AUGUST 2026
    SHEET 12
    REV A