Join Bill Dill for an in-depth discussion in this video Work with the director, part of Learning Cinematography: 2 Working on Set.
- So we're still in pre-production, and most of the creative decisions have already been made, so this is mainly about management. So I have the production designer, the first AD, and the director here. So the idea here is to find out the amount of work that we need to do in how long a day and how many setups in that day. The setups is important because that's a commitment on the part of the cinematographer. So we want to make sure that, above all else, that the director gets the shots that he needs. And that'll be built around some storyboards that we've done.
Okay. How are you feeling about where that sofa is right there? - I feel like that sofa's going to have to come out a little bit - Okay. so we can get the camera in over here. - Okay, so that also gives us some relief off of the wall from her angles, and his angles are deeper, - Yeah. 'cause he's the protagonist, so that opens up the set this side. How are you with how much room we've got back behind there do you think? - I think we have enough room back there now. We have maybe about seven or eight feet - Okay, okay. back there for any of your lighting needs, - Okay, good.
and then we now have this wall is that sort of deeper color - Yeah. that we're looking for. - Yeah, yeah, and also I put a four by mirror back there and then I can get deeper into the set that way. - [Greg] Great. - So timewise, so just be aware that when we do that reveal. - [Director] Yeah. The camera can't boom, right? So that you may be restricted into adding a shot. - Okay. - If you wanted to carry that longer. - Well, let's do the low shot first. - Okay. - So, let's get him walking in. - Okay.
- And then set up for the second shot. - Okay, okay. - 'Cause I would like to see his reaction to her sitting here and seeing the note - Okay, right. that leads into the scene. - Okay, so it's important to see his face, but we're not going to get that from that opening angle, so.. - Yeah, and I'll do it as a cut-in. - Okay, so that's an additional shot, are we okay? - Got it, okay, all right. - Okay. All right, thanks. So, these guys know what they're doing, and they've got some things that they'll need to be taking care of. So the next thing we'll be working on is storyboarding and making sure that we have a really good plan for the day.
- Pre-production planning
- Using storyboards and creating shot lists
- Planning your day
- Order of operations: blocking, lighting, rehearsing, and shooting
- Blocking actors
- Lighting a set
- Rehearsing with actors
- Establishing and changing patterns
- Managing media
- Establishing a chain of custody
- Outputting your footage