On Thursday, the cinematographer and the director might be at the post house looking at the tests.Īnd throughout the week, the director is also having rehearsals with the cast, and sometimes there is still some casting going on for the smaller parts. Then in Wednesday maybe, the cinematographer will go to the camera prep and perhaps shoot some tests, or perhaps a bigger hair, make-up, and wardrobe test is scheduled. Let's say that the tech scout is on Monday and the production meeting is on Tuesday, and perhaps the camera crew started the equipment check-out on Tuesday. The day after that is usually when final department head's budgets are due and the big production meeting takes place. The cinematographer will give notes to the gaffer and key grip, who have an opportunity to talk to the set dresser, the sound mixer can talk to the DP or the gaffer, everyone talks to the AD, etc. The last week of prep usually involves the day of the tech scout where all the department heads and their assistants visit all the sets and locations with the director, who tells everyone the rough game plan of how shots will be staged, then everyone breaks up into groups, tape measuring things, figuring out where power can be run, where trucks have to go, what's in the shot and what's out of the shot, etc. In some ways, the last day of prep is one of my most relaxing since everyone else is so busy. I often work backwards from the first day of the shoot to break down prep, but the last day or two of prep is all the equipment pick-ups, so the gaffer, key grip and camera crew are all dealing with checking out gear and loading it onto trucks.
Reality can be much different, depending on budget and lead in time.įor a typical 4 or 5-week feature, the cinematographer is hired at least for 3 weeks of prep, if not 4. A brief morning meeting prior to setup to remind people, based on your notes and the gaffing/electrical team will get to work. If you've done your homework, shooting should be very straight forward. It's so critical to have that team on board prior to the shoot date because generally, they are the one's insuring you have the right equipment on the truck. Prior to the shoot, your gaffing team will be brought up to speed on your preproduction notes, giving their feedback based on what they see and putting together solutions to solve issues.
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There is also previs software designed to help build lighting rigs, but for normal non VFX narratives, I doubt it's used much. For more complex shoots, you'd draw a simple diagram of a lighting rig to understand in greater detail. Most of the time you'll do this in your head and just list the equipment you need. Then it's down to designing the lighting rigs based on the notes and storyboards. It starts with location scout, lots of still's and a detailed analysis of the shots to be preformed and where. Even on short subject pieces, we break down the script and go into great detail.
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