COVERAGE
How you cover a scene refers to the amount of takes and variety of shots you shoot for a particular scene. Shooting a scene with only two takes from one angle, then finding that only one of those takes is usable, means you have no coverage. However, having the same scene shot from multiple angles, including close ups and wide shots, means you have plenty of coverage.
Coverage is essential when it comes to editing a film; having enough takes and shots will give you multiple ways in which you can cut a scene together. Once you have shot a master scene or comprehensive take, you should try and cover the action from different angles, using as many different types or combinations of shot as you think it warrants. A film made with no coverage can appear visually stilted. To create a dynamic multi-dimensional edit, you need to shoot as much coverage as you can.
Master scene
Master scene is a technique that is common practice in filmmaking. It simply involves finding an angle from which you can cover the entire action of a scene, or as much as possible. Generally a wide shot, you film one or several takes of the entire scene. This then acts as a security, and you can shoot as much coverage as you like, knowing that you have already captured the entire scene and will be able to cut it in with the other shots and angles. Gaps are often not apparent until you reach the editing suite, and by then it’s too late so shooting a master scene whenever possible is a wise precaution.
Overlap
When shooting multiple angles for a scene, it is vital that you overlap the action. Rather than shooting to the end of a line of dialogue and then starting another shot with the next line, you should always have at least a sentence or piece of movement from the tail end of the last shot. This gives you security and provides you with more leeway in the edit, as well as allowing the actors to develop the pace and rhythm of dialogue. Matching dialogue and movement between shots is vital for editing. A shot that has no common match point with a master scene or other coverage is generally unusable when it comes to editing.
Lines of direction
The line, crossing the line, or the 180-degree rule, is a technical consideration when it comes to the angles from which you choose to shoot a scene. If you have two actors, for instance, talking to each other in profile, then you imagine a straight line on which they are standing. The side of that line that you start filming from has to be the side you stay on to shoot any coverage. If you cross the line, when you cut the footage together, you would give the impression that the two actors had swapped positions. This is a rule that is often broken, and there is no reason why you shouldn’t, if you think that a shot might work better by crossing the line.
The line is also the same principle that governs direction of movement. If you imagine that you were shooting an actor running down a street from one side of the road and then swapped to the other side of the road to get another shot, when you cut the shots together the actor would appear as if he was running back in the other direction.
CONTINUITY
Although many productions have a continuity supervisor, whose sole concern is to monitor continuity on set, it also pays for the director to be aware of continuity. Nearly all films are shot out of sequence using various shots to build up scenes, so maintaining continuity is vital to ensure they are usable. Actors’ clothes and the position of props are obvious examples of things that need to be monitored. Shot lists can often require the same piece of action to be filmed again, much later in the day from a different angle, and although the order and placement of things might seem unforgettable immediately after a shot, recreating it hours later can be very taxing. Using digital stills cameras to monitor each shot as well as making notes or placing marks can all help avoid any continuity problems.
PROBLEM SOLVING
Translating an idea that you have in your head onto the screen is not always a straightforward process. Directing a film will always provide situations that you had not envisioned, whether this is literally a shot that can’t be achieved in the way you had imagined it, or running out of time on a day’s shoot. It is the director’s job to find ways around these problems and spot them before they occur. Just as it takes imagination to think up the ideas in the first place, that imagination is also essential for finding creative ways to solve the problems in situ.
21. CREW
Organising the crew for your film requires you to understand not only the needs of your film, but also the demands of each role. Each member of the crew, in turn, must understand the roles of everybody else involved.
Ensuring that each head communicates with one another is crucial to an efficient team. For this complex group of people to function as a single unit, you need to impose a system and hierarchy. Even if everybody does a bit of everything on set, as is often the case on shorts, different areas of the production still need to be broken down into their separate departments. You will then need to designate specific roles to individuals; and if there is more than one person in a department then one should be head of that department (HOD).
This might seem like overkill on a small-scale production, but it really does make things faster and more efficient, as well as safer. A hierarchy will save everyone time and effort, and give people a specific purpose.
PRODUCTION MANAGER
The production manager is in charge of all the departments on the shoot. On shorts the producer often assumes this role. Having someone to coordinate all the practical elements on set is a necessity. If you don’t have a producer on your film, then it is worth designating someone as production manager.
ASSISTANT DIRECTOR (AD)
The assistant director, or AD, is there to help the director get the job done, whether this is yelling commands such as ‘action’ and ‘cut’, ensuring the cast is ready for the next take, or keeping the crew up to date on what will be required for the next scene. Ultimately the AD should be able to have slightly more perspective on what is going on, both on and off the set, than the director, who will be concentrating on the actors and the DP. The AD uses this perspective to keep the shoot moving and should always be looking as far ahead as possible, allowing the director to focus on the job in hand.
CAMERA CREW
The DP is head of the camera crew and will also be in charge of the lighting and grip. Camera crews will normally consist of several assistants, and when shooting on film a focus puller and clapper loader. Gaffers and sparks will also look to the DP to give them instructions on where and how to place which lights. Grips will also take their instructions from the DP.
SOUND CREW
The sound department will usually consist of at least two people, the sound recordist or mixer (who is the HOD), and a boom pole operator. Although they are as vital as the camera crew, they often work around them rather than dictate their requirements.
GAFFERS/SPARKS
The amount of gaffers or sparks you have will depend on how much lighting you are using. The gaffer is normally the head of a team of sparks, who will deal with all the technical lighting needs of the shoot. Professional gaffers are trained electricians and their role and experience is crucial as far as lighting your set goes. They need to transfer the requests of the DP into feasible lighting set ups, involving power supplies, cabling, positioning and controlling of the lights. They work closely with the DP to achieve creative solutions for any shot or scene.
RIGGERS
Anything that involves building support structures, such as scaffolding towers, lighting rigs etc will be performed by trained riggers.
ART DEPARTMENT
The art department can range from one person to a massive team of set builders. Run by the art director or production designer, the role of the department is to assemble or dress the set as is required for a scene. On shorts the art department is often in charge of props as well. The art director will refer to the director, DP and continuity supervisor for instructions.
CONTINUITY SUPERVISOR
Continuity in a film is never a straightforward affair. The
non-linear manner in which a shot list is assembled can make it very difficult to keep track of what should be where, or what should be on who. Simple errors with continuity can render entire portions of footage unusable. To avoid this, the continuity supervisor keeps careful notes on the script and storyboard, also noting what has been shot already, ensuring that the wardrobe and art departments maintain continuity.
COSTUME
A costume designer will often be in charge of sourcing outfits or making them. These outfits are then organised and maintained by the wardrobe department for the shoot. They ensure that the costumes are ready for particular scenes, and help the actors change into them. They’ll also keep an eye on them while the shoot is in progress.
HAIR AND MAKE UP
The hair and make up departments will refer to the director and occasionally the DP. Make up and hairstyles should have been decided in pre-production, and performed at a reasonable interval before the actor is needed for a scene. Both need to be maintained while the shoot is in progress, so there are often two people in a department, one preparing and one on set, who is in charge of touch ups.
FINDING A CREW
How many people you need in your film crew really depends on the nature of your film. Using film crew databases and asking other filmmakers or producers for recommendations is the most straightforward approach to take. When hiring crew, whether they are offering their services free of charge or for a fee, it is important to find out what previous experience they have. CVs and showreels will indicate levels of expertise.
Figure 41. Shooting People website. www.shootingpeople.org
22. DIRECTOR OF PHOTOGRAPHY (DOP/DP)
The director of photography is also known as the DOP or just DP. More than just a camera operator, he or she controls the lighting, framing, composition and mood of your shots. The DP is in charge of trying to realise, as closely as possible, the shots that you want for your film, through the appropriate use of lenses, camera angles, lights and filters.
Deciding on who you want to shoot your film can be difficult. There is, of course, the option of shooting it yourself, and if you are planning on using a digital format such as DV or HDV then the technology is often straightforward enough for you to operate the camera with a minimum of experience. This way you retain complete control over what you are shooting. This may seem like a feasible solution in the planning stages, but there are several factors that you should bear in mind.
Although there are a lot of ‘point and shoot’ cameras on the market, these are intended for amateur and domestic use, and will inevitably produce much lower-quality images than professional equipment. This may well be an aesthetic you are after, and there is often a vibrancy to this kind of footage that simply can’t be imitated on more professional cameras, but in general filmmakers tend to strive towards the highest possible quality image. If you are going to shoot on film or a high-quality video format, then you are really going to need someone who is more than just proficient with the technology, in order to maximise its potential.
On any film involving actors, as a director your time will mostly be spent blocking out the action and communicating what you want with them. On set or location, this will be your priority, and time will always be short. If you also need to make sure the camera is functioning properly and the lighting positioned effectively, then either the performance or the image may suffer. The more talent and experience a DP has, the better your film is going to look, which is why their role is such an important one. Whether you are shooting on DV or 35mm, you will be relying heavily on their skill to bring your ideas to life and this will give you the freedom to concentrate on directing.
To become a competent DP normally takes years of training, especially if they shoot on film. There are a lot more variables when shooting on S16 and 35mm than there are with digital formats. Professional DPs have usually worked their way through the camera assistant roles of clapper loader and focus puller, and once they have gained enough technical experience they concentrate on lighting before becoming a fully-fledged DP. Shooting on a digital format is often less labour-intensive and less technical than shooting on film, but, either way, your DP should be highly proficient at what you are asking them to do. Whatever format you are shooting on, you want to achieve the appropriate look without losing valuable time, or, potentially, losing shots.
It is imperative that as a director you are able to convey to the DP what type of visual style or look you are after. Otherwise you will both think you understand each other but actually have completely different ideas in mind. At this stage then you really need to have done your research. Try to gather together as much visual source material as you can. Whether a scene from a film, an advert, or a magazine photo, it will all be very useful when it comes to conveying your thoughts to a DP.
FINDING A DP
There are a number of ways to find a DP to shoot your short film. There’s not much point in trying to persuade a highly-established DP to shoot a low-budget short film, because there’s simply not a lot in it for them, so instead try and find someone who is both prepared and enthusiastic. The key to getting a good crew for your film is to find people that have as much to gain from it as you do.
The best places to start are film schools that run courses specifically for directors of photography. Film schools produce a lot of up and coming DPs every year, who will generally be keen to get involved in short film projects to gain more practical experience and put their training into practice. They are looking to showcase their talent and advance their skill and expertise. Try and find out when the end of year student screenings take place and go along to have a look at their work. Most colleges should be able to put you in touch with current or previous students and you can always put an ad up on the notice board.
Film industry databases on the Internet are also a good place to look, and will often have contact information. A lot of DPs will have their own websites with a list of credits and a downloadable showreel of their work. Budding DPs often work professionally as camera assistants on feature films and commercials, but relish short films as a chance to display their flair behind the camera.
Short film festivals are also a great place to find DPs. If you like the visual style of a film, there will usually be someone from the production there, who can put you in touch with the DP.
STYLE
Whoever you get to shoot your film, whether a professional or novice, always remember that the visual style of your film is one of the main areas in which it’s possible to innovate and produce something highly original. Always check a potential DP’s showreel and try and choose someone that shoots in a style you think will work for your film. Pay particular attention to their lighting and framing to see if this is compatible with the look that you want to achieve. Just as with any other role in filmmaking, a DP is constantly learning and no two shoots are ever the same. It’s not always possible to recreate exactly what you want visually even at the best of times so be prepared to compromise and listen to your DP’s advice along the way. On short films they will often be among the most experienced members of the crew.
INTERVIEW WITH SIMON MINETT (DP)
Simon Minett is an accomplished director of photography with over 15 years of experience in the film and television industries. Although he generally shoots commercials, music promos and corporates, he is also regularly involved in shooting short films. For further information about Simon Minett visit www.filmspace.net.
What are you in charge of in your capacity as a DP?
As DP, you direct photography. By interpreting the script and the director’s ideas regarding the script into images, you make ideas that exist in the director’s head into photographic reality.
At what stage of the pre-production do directors normally contact you? Is there an ideal time?
The ideal time is as much time as possible. The more time you can put into pre-production, the better the shoot is going to be. Unfortunately, there’s often very little pre-pro
duction time with short films. Short films tend to be low-budget, but if people are working for nothing or for very little money, then at least pre-production is one element that’s not going to cost very much!
Are you often involved in the decision process over which format to shoot on?
I’d expect to have some influence, but very often format is dictated by budget. If I feel strongly that a format is wrong for a job, then I think it’s my job to say so, and I would hope that producers and directors would expect that from me.
What sort of preparation do you normally have to go through before shooting a short?
Discussions over format and meetings about storyboards. If it’s a location shoot, then recces of locations and looking at photographs of locations. If it’s a studio shoot, then having a look at the studio. I’d expect to have some involvement in procuring camera and lighting crew.
Short Films Page 15