Post by nigel on Jun 1, 2008 8:24:01 GMT -5
Production
This section will be short and intense. Just like the shoot. And you are going to shoot. Why? Because you have told everybody you are making a film. Good. By now the embarrassment of not making it will be too great. Loss of face is a great motivator.
Locations, actors, props, equipment etc. have all been taken care of by your meticulous organisation. You have storyboards, schedules and shot lists to let you know what you have to shoot each day. Nothing's being left to chance (with the possible exception of the weather and you've got contingency shoots for that as well). So what's all the hassle, what's all the fuss about film making.
Basically time. You're never going to have enough. You have to be shooting just fewer than two cans of film a day. There will be no rest in between set-ups, while the crew sets up the lights and cameras for the next shot you will be going over lines with the actors. But then the makeup people and wardrobe people will want to see them and then it's time to walk through the shoots. All for one minutes worth of film. Then on to the next set-up. Bang-bang-bang. And of course things will go wrong.
But when they do, be polite, be calm. Filmmaking is one of the paths to Zen. Nothing is a problem. If you can't get something done for various logistical reasons, work round it. The solution you will have to find may give a better result. This is the rush of filmmaking.
But following some of these simple procedures, which will lessen the chance of death, by ulcer bleed, can alleviate much unnecessary stress. Then you can get on with the main task of translating the movie in your head into reality.
Locations
If you are using a number of locations, good scheduling should ensure that all the shots you need at the one location are done in one go, don't travel there and back if you can help it. The longer you can stay at one location the better. Travelling and striking the set is time wasted. If the equipment can be secure there all the better. If you are moving from location to location make sure you have adequate transport (a transit van at minimum). If you are filming on public property check with the council and the police. One of the few advantages of the British industries sorry state is that unlike America where movies are thought to spell money and everybody wants their cut, in Britain film making is seen as a hardy but possibly foolhardy adventure, so already sympathy is on your side, when it comes to getting permission or not having to pay for locations, etc.
Actors
Unless you are coming from the theatre side of direction, Actors are probably going to appear like pains in the butt. They're always whining or wanting approval and you've got a film to make. But you wouldn't do it. Many people behind the camera have a mortal fear of being in front of it. So appreciate it. You need an ego to act but that doesn't mean that it's not delicate. Tell people if they are doing a good job and be firm and kind and supportive of them if they aren't. You can't be thanking them all the time though; you've other things to think about. So make sure your AD is paying attention to their needs physical and mental.
You will probably not have anytime to rehearse your actors before hand. You will of course rehearse the set-up a couple of times. But don't fret actors only have to get it right once (or twice) for 30 seconds, and then they can forget about it. If they really screw up, continue shooting the shots line by line if necessary, using different angles of reverses, cutaways etc. to save it in the editing room.
Make sure the actors are there an hour before you need them so that they can be made up and they can pick up the general buzz off the set.
Actors should be providing heir own wardrobe as much as possible so it will save you time in wardrobe and money etc. But if their clothes get damaged at all, always pay up, right away no questions. And you should be covering there other expenses where possible.
Don't be afraid to use the crew as extras. Hell. What were they doing anyhow? And don't worry if the same extras turn up time and time again. If they're good extras i.e. they just "Be" you shouldn't notice them anyhow. Besides if people are looking at the extras, there's something wrong with your story.
Shooting
When setting up the lights try as much as possible to light for the scene not the shot. Tweak the lights by all means, but the easiest way to keep-to-keep lighting continuity, is light it, shoot it.
Shoot mute where possible. Set ups are faster. You don't have to wait for perfect sound conditions. If it’s a choreographed action scene, actions can be shouted as it happens. But at the same time be generous enough to allow sound people to get wild tracks if they are needed (like when everybody else is at lunch). It can be a hassle getting them afterwards. Look what happened to John Travolta's soundman character in Blow Out. But otherwise shoot it mute. Why sync a car passing when you can grab it off a sound FX CD later.
Before you are ready for a take you should have a quick look through the camera just to check framing, composition, the line, etc. Each take should be measured with a tape ruler to make sure that all the action is taking place within the lenses depth of field. Because if that shot isn’t in focus and you're living without rushes the first time your going to know about is when you're watching the telecine. I.e. when it's too d**n late. And measuring works, one film I did had seven hours of footage but thanks to a diligent camera assistant, only one shot was "soft". The camera assistant should also be checking for flare from lights reflecting on the front of the lens.
Sound will shout speed to let the director know he/she is ready, the clapper will announce the take and only then should the camera start running. Camera shouts mark and the board are clapped. This will save film. Make sure the clap is visible; as is the information on it and that it is held still while clapped so the editor read it properly later.
In Britain there is a tendency to shoot slates. To my mind it is easier to shoot by scene number, each set up marked alphabetically within that scene. It makes life in postproduction a d**n sight easier when looking at the clapperboard. It also saves you splashing out for any stupid 100th slate celebration bollocks. Save it for the wrap party.
After every shot check the gate. It's better to find out now that the shot was ruined rather than later.
The Continuity person should be able to interrupt anyone or anything. Your production budget may not be up to James Cameron standards, but decent continuity should cost you nothing and will add to your production values. I.e. people will be watching the story not the mistakes. Polaroid's are one method of keeping continuity but they can prove expensive. Better to borrow a video camera and use that instead. The continuity person in their script supervisor role should be tram lining the script as scenes are shot. I.e. marking on the script to where each set of dialogue pertains and the number and letter of the take.
Additionally the sound person and the camera assistant should be filling in sound sheets and camera logs after each take. The logs are usually available free from labs, so use them. It will stop the editor coming round to kill them later.
Exteriors and some cutaways can be shot after principal photography. Some cutaways can be shot while the actors prepare for scenes. If you see a hand dialling the phone it doesn't have to necessarily be a specific actors hand (but try to get a fairly close match for Christ sake.)
Because your shooting schedule is so tight it's easy to get into the frame of mind where the number of set-ups not the quality of the shot becomes the important thing. Obviously the camera set up cannot take forever, but try to compromise. Otherwise all the shots tend to become static. Try to schedule for some out of the ordinary shots. Wheelchairs as we all know can act as dollies. See saw devices can be used for crane shots. Rent a low trailer and shove a car on it and do some travelling shots.
Should you be packing up all your film everyday and be sending it off the labs? Only if you want to make the courier company rich. You will not be seeing any rushes. So wait to till the end after storing your film safely and then send it off all at once (packed very safely). Better still drive to the lab yourself and hand it over. That way you know there were no screw-ups.
Lastly make sure you have enough petty cash to see you through the day. Unfortunately it is the grease of movie making.
This section will be short and intense. Just like the shoot. And you are going to shoot. Why? Because you have told everybody you are making a film. Good. By now the embarrassment of not making it will be too great. Loss of face is a great motivator.
Locations, actors, props, equipment etc. have all been taken care of by your meticulous organisation. You have storyboards, schedules and shot lists to let you know what you have to shoot each day. Nothing's being left to chance (with the possible exception of the weather and you've got contingency shoots for that as well). So what's all the hassle, what's all the fuss about film making.
Basically time. You're never going to have enough. You have to be shooting just fewer than two cans of film a day. There will be no rest in between set-ups, while the crew sets up the lights and cameras for the next shot you will be going over lines with the actors. But then the makeup people and wardrobe people will want to see them and then it's time to walk through the shoots. All for one minutes worth of film. Then on to the next set-up. Bang-bang-bang. And of course things will go wrong.
But when they do, be polite, be calm. Filmmaking is one of the paths to Zen. Nothing is a problem. If you can't get something done for various logistical reasons, work round it. The solution you will have to find may give a better result. This is the rush of filmmaking.
But following some of these simple procedures, which will lessen the chance of death, by ulcer bleed, can alleviate much unnecessary stress. Then you can get on with the main task of translating the movie in your head into reality.
Locations
If you are using a number of locations, good scheduling should ensure that all the shots you need at the one location are done in one go, don't travel there and back if you can help it. The longer you can stay at one location the better. Travelling and striking the set is time wasted. If the equipment can be secure there all the better. If you are moving from location to location make sure you have adequate transport (a transit van at minimum). If you are filming on public property check with the council and the police. One of the few advantages of the British industries sorry state is that unlike America where movies are thought to spell money and everybody wants their cut, in Britain film making is seen as a hardy but possibly foolhardy adventure, so already sympathy is on your side, when it comes to getting permission or not having to pay for locations, etc.
Actors
Unless you are coming from the theatre side of direction, Actors are probably going to appear like pains in the butt. They're always whining or wanting approval and you've got a film to make. But you wouldn't do it. Many people behind the camera have a mortal fear of being in front of it. So appreciate it. You need an ego to act but that doesn't mean that it's not delicate. Tell people if they are doing a good job and be firm and kind and supportive of them if they aren't. You can't be thanking them all the time though; you've other things to think about. So make sure your AD is paying attention to their needs physical and mental.
You will probably not have anytime to rehearse your actors before hand. You will of course rehearse the set-up a couple of times. But don't fret actors only have to get it right once (or twice) for 30 seconds, and then they can forget about it. If they really screw up, continue shooting the shots line by line if necessary, using different angles of reverses, cutaways etc. to save it in the editing room.
Make sure the actors are there an hour before you need them so that they can be made up and they can pick up the general buzz off the set.
Actors should be providing heir own wardrobe as much as possible so it will save you time in wardrobe and money etc. But if their clothes get damaged at all, always pay up, right away no questions. And you should be covering there other expenses where possible.
Don't be afraid to use the crew as extras. Hell. What were they doing anyhow? And don't worry if the same extras turn up time and time again. If they're good extras i.e. they just "Be" you shouldn't notice them anyhow. Besides if people are looking at the extras, there's something wrong with your story.
Shooting
When setting up the lights try as much as possible to light for the scene not the shot. Tweak the lights by all means, but the easiest way to keep-to-keep lighting continuity, is light it, shoot it.
Shoot mute where possible. Set ups are faster. You don't have to wait for perfect sound conditions. If it’s a choreographed action scene, actions can be shouted as it happens. But at the same time be generous enough to allow sound people to get wild tracks if they are needed (like when everybody else is at lunch). It can be a hassle getting them afterwards. Look what happened to John Travolta's soundman character in Blow Out. But otherwise shoot it mute. Why sync a car passing when you can grab it off a sound FX CD later.
Before you are ready for a take you should have a quick look through the camera just to check framing, composition, the line, etc. Each take should be measured with a tape ruler to make sure that all the action is taking place within the lenses depth of field. Because if that shot isn’t in focus and you're living without rushes the first time your going to know about is when you're watching the telecine. I.e. when it's too d**n late. And measuring works, one film I did had seven hours of footage but thanks to a diligent camera assistant, only one shot was "soft". The camera assistant should also be checking for flare from lights reflecting on the front of the lens.
Sound will shout speed to let the director know he/she is ready, the clapper will announce the take and only then should the camera start running. Camera shouts mark and the board are clapped. This will save film. Make sure the clap is visible; as is the information on it and that it is held still while clapped so the editor read it properly later.
In Britain there is a tendency to shoot slates. To my mind it is easier to shoot by scene number, each set up marked alphabetically within that scene. It makes life in postproduction a d**n sight easier when looking at the clapperboard. It also saves you splashing out for any stupid 100th slate celebration bollocks. Save it for the wrap party.
After every shot check the gate. It's better to find out now that the shot was ruined rather than later.
The Continuity person should be able to interrupt anyone or anything. Your production budget may not be up to James Cameron standards, but decent continuity should cost you nothing and will add to your production values. I.e. people will be watching the story not the mistakes. Polaroid's are one method of keeping continuity but they can prove expensive. Better to borrow a video camera and use that instead. The continuity person in their script supervisor role should be tram lining the script as scenes are shot. I.e. marking on the script to where each set of dialogue pertains and the number and letter of the take.
Additionally the sound person and the camera assistant should be filling in sound sheets and camera logs after each take. The logs are usually available free from labs, so use them. It will stop the editor coming round to kill them later.
Exteriors and some cutaways can be shot after principal photography. Some cutaways can be shot while the actors prepare for scenes. If you see a hand dialling the phone it doesn't have to necessarily be a specific actors hand (but try to get a fairly close match for Christ sake.)
Because your shooting schedule is so tight it's easy to get into the frame of mind where the number of set-ups not the quality of the shot becomes the important thing. Obviously the camera set up cannot take forever, but try to compromise. Otherwise all the shots tend to become static. Try to schedule for some out of the ordinary shots. Wheelchairs as we all know can act as dollies. See saw devices can be used for crane shots. Rent a low trailer and shove a car on it and do some travelling shots.
Should you be packing up all your film everyday and be sending it off the labs? Only if you want to make the courier company rich. You will not be seeing any rushes. So wait to till the end after storing your film safely and then send it off all at once (packed very safely). Better still drive to the lab yourself and hand it over. That way you know there were no screw-ups.
Lastly make sure you have enough petty cash to see you through the day. Unfortunately it is the grease of movie making.