T436 - Fall 2007 - Week 5

Readings: Blain Brown, chapter 14 "set operations"

Set operations, slating and set procedures

Agenda:

• Determine stories to produce - Need 2 stories to start things off next week!
• Establish initial production grid & fill in
• Roles & duties in this class
• Set protocol
• Set operations & slating
  

Lab this week is the last rotation exercise. Next week we begin production.

Quiz next week in lecture!

Notes: The production schedule is online. I'll be making some changes in weeks 3-7 to make sure everyone gets an even dose of field and studio. (right now it's unbalanced)

As you revise scripts for the first two weeks, make sure that the stories make us think, "What will happen next?" Also remember that as a Director, you should be an efficient storyteller. Unless a scene or shot has a specific purpose (develops story or character, serves as an editing aid, etc.) then it should not be in the script or shot list.

Journal - Please note that from this point on, everyone needs to keep a journal, which I'll be checking weekly. You should document yourr experience for each project. It can be either on paper or as a blog. Be sure to clearly identify your role for each production you are working on and what challenges you encountered. Please note that you will be working in a variety of roles for different pieces at the same time. Make sure you distinctly separate these in your head and address them all clearly in your journal.

Roles & duties

Key personnel: Director & cinematographer primarily responsible for getting the "look" of the piece. The gaffer/lighting designer must posses skill to design and set lights while working with the cinematographer.

While the duties of each might vary depending upon the production and studio protocol, here's how they should work in our class:

Producer

• Selects stories/scripts and modifies as needed (Many stories will need to be revised)
• Determines overall aesthetic/stylistic approach
• Works closely with the Director and DP
• Selects and secures talent
• Selects and secures locations
• Must get legal clearances (model releases, location releases, license releases)
• Makes sure editor has proper information for title and credits and helps determine stylistic approach (music, fonts, colors, etc.)
• Makes sure project happens on time and under budget (setting an overall production timeline helps).

For each production, the Producer will submit and be graded on:

• Description of story
• Strategy as to production approach (location, talent, aesthetics, etc.)
• Revised Script (with clearly defined scenes)
• Legal packet (contains all releases)

Director

• Interprets script
• Determines coverage (How you will capture action)
• Creates storyboards
• Blocks all scenes (talent and cameras)
• Creates shooting schedule and shot list (what gets shot in what order)
• Visits site in advance of shoots with DP and gaffer
• Creates site sketches and any other aids necessary for the production
• Presents scripts, storyboards, and key instructions to cast and crew.
• Directs and coordinates entire cast and crew

For each production, the Director will submit and be graded on:

• Final shooting script
• Storyboards and other drawings
• Visualization & interpretation strategy (Why did you do what you did?)
• Shot list & shooting schedule
• Production summary (critique)

Cinematographer/DP

• Works with Director and gaffer. Should make site visit and create location sketches
• Examines scripts and storyboards
• Determines lighting needs
• Works with gaffer to make sure lighting is appropriate
• Use the Zone system to specify lighting
• Use a light meter to determine lighting and filter needs
• Determines and manages all camera needs (exposure, lenses, filters, ND, dynamics, etc.)
• Arrives early on the set and makes sure camera system is setup and in place
• Ensures that continuity is maintained and coverage is provided
• Oversees grips, camera team, and lighting/electrical team.

For each production, the Cinematographer/DP will submit and be graded on:

• Site sketch with camera marks
• Floor plan
• Document camera strategy (List what filters, lenses, camera moves were used and why)
• Production summary (critique)

Gaffer/Lighting

• Should visit site with Director and Cinematographer/DP
• Creates lighting look specified by the Director and Cinematographer/DP
• Creates lighting plot
• Arrives on location early to set lights
• Oversees electric crew
• Should use a light meter to determine intensity, ND, etc.
• Oversee electrical crew
  

For each production, the Gaffer will submit and be graded on:

• Lighting plot (superimposed over site sketch or floor plan)
• Lighting strategy (what lights, scrims, gels, etc were used where and why
• Production summary (critique)

The Assistant Camerman

• Reports to the DP & helps set the camera
• Mounts matte boxes, insert filters, etc.
• Pulls focus
• Ensures proper film or tape is loaded
• Manages grips & dolly team
• Moves camera to free up the DP
• Creates a camera report
• Runs camera as directed by the DP.

All personnel should document their experience with a journal entry.

Audio engineer - Will need to use a mixer, determine audio needs and microphone placement. Generally will use a shotgun on a boom pole. The audio engineer will always try to record tone recorded at 0 VU or -14 digital along with the color bars at the start of each tape. Should always monitor audio through headphones. Will always remember to get "room tone" for at least a minute.

PA - Will help director, DP and gaffer as needed. Often will be used to set marks for actors.

 

Set etiquette

I like a quote in Douglas Hart's book, the Camera Assistant:

Rule #1: Keep your mouth shut

Rule #2: Stay in your own department

The Director is in charge. If a question or issue arises, the director shall have his/her way.

The DP works tightly with the Director. He/she is second in command after the Director

Except for the Director & DP, no one should interact with the talent unless their job directly necessitates it. (Audio engineer getting levels, etc.) They need to be given privacy and space so that they may focus on their roles. It's a good idea to not even look at them as they are involved in a scene.

The crew should not distract the Director either.

Don't touch the camera unless you are the DP or are on the camera crew.

Don't touch the lights unless you are the DP, gaffer or on the electrical crew.

Don't stand in front of the camera. When crossing the path of the lens, say "crossing"

Don't take pictures - especially flash pictures unless OK's by the Director or DP. When taking flash pictures on the set, say "flashing".

Set Procedures

Review procedures in book (p 254). We'll be using a modified version due to our minimal crew.

After getting speed, the DP asks the AC to "mark it". The AC will call out the scene and take number. The PA will slate the scene. The DP will then say "set".

The Director call for action and the scene commences.

When finished, the Director says "cut".

Slating

 

 

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