Some locations double well for burgeoning metropilae |
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I know I've been going on a lot about writing so far. The script is the blueprint for the movie, after all. Still, this is supposed to be about film making in general. I will get back to more writing and story bits later, but for a few columns we'll go ahead and change things up. Sounds exciting? Well, sorry to disappoint, but it's going to be all about paperwork, legal stuff, and other things that are so boring most people forget to do them. Then, when they're done, they hire someone to do all of the paperwork, sometimes in the form of a defense lawyer. There's a lot to be done on a movie that isn't creative or artistic, unfortunately. It still needs to be done.
First, to ease in, we'll deal with the exciting world of real estate. Here you can at least use your artistic eye to guide you a little. When you are filming, you will need the actors and events to be somewhere. The sooner you start looking, the sooner you can get permission, the sooner you can make sure the locations meet the needs of the script, and the sooner you can plan out the shoot.
First, go through your script and write down every location you have imagined. Notate how many pages are used, and if there are any effects or other elaborate shooting required. If your script isn't done yet, at least get an idea for how long each location is going to be on-screen.
For every location and day of shooting, you need to figure out a loose timetable. Everybody shoots at different speeds, depending on how much crew you have, how much coffee is available, and how nit-picky you are with each shot. I generally try to estimate about three minutes on-screen for every hour of shooting of basic dialogue, just because that's what I've found my pace to be. One minute per hour if there are stunts involved.
Add one hour for setup at the beginning, one hour for breakdown at the end, and if you're going over four hours of shooting, one hour for lunch / break / downtime. That break may be five minutes every hour, or a full block in the middle, but periodically everyone will need to kill the lights, cool off, and step away for a minute. Set up time in being stingy, since people will show up late, problems will pop up as you get ready, and other things will delay you getting going, but as soon as some cast is 
Where everybody knows your name, some make sure the check clears |
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there and some shots can be grabbed, you can and should get started. Breakdown tends to go fast, because everyone is tired, has other places they want to be, and in general will want to get packed up as fast as possible. People are always more motivated when they see personal time on the horizon.
Also add an hour to the shoot for shmoozing. When you get there, talk to the owner for a little bit, thank them for letting you use the place, and let them know a little bit about the scenes that are being shot. That way if they want to stand quietly off to the side and watch, they will get what's going on better. Unless there are sensitive issues like nudity, it's good to let them get a peek of what you're doing if they want. That way, if you need anything like outlets or more time, they feel more like a part of the shoot.
Whenever there is a lighting change, break, or other chance to slip away for a few moments, try to remember to check in on the owner of the location. Ask if they have any questions, let them know any concerns, and generally keep them in the loop. A group of people taking over your property for hours on end (probably for free at our level) can make some people nervous.
Once you have this rough idea of how long shooting will take, round up a little if you can. If the shoot looks a bit too long, add a day. If you try and cram too much into an already long day, you will make mistakes. That means coming back weeks or months later for a reshoot. Easier to ask for the extra time up front, and use it wisely. Also, by adding some time to your shooting window you allow for room to try a few things, different takes, different delivery, some neat angles, whatever, if you happen to get ahead of schedule.
Now you have an idea of how long you will need the location, as well as what you will need it for. Before you start asking favors, scope each location out. Chances are you have some ideas in mind. Bars you've been to, a friend's apartment, the park near your house. Try and come up with three options for each location. Even if one is perfect and you know you can get it, at least allow for the possibility that in the middle of a fire, a water main breaks, magnetizing the copper wiring and pulling a meteor down on the place. In other words, strange 
If you can't get your desired location, find a stand in. Like NASA did. |
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things happen.
Go to each interior. Look at the lighting. Is it ample? What color bulbs, where are they, and do they flicker? How many windows are there, do they have coverings available, and what is the view from them? How many outlets are there, and where are they placed? Are there major obstacles in the room, like pillars, pool tables, or elephants that may prove difficult to move or shoot around? Stop and listen. Can you hear a generator, refrigerator, the dog next door, or the moans of the spirit that haunts the place? I know I'm getting silly. Trying to make sure it stays interesting. Are there signs, posters, etc. that have copy written material you may have to move or replace?
Go to each exterior. Again listen for noise. See how much wind there tends to be. Is the ground soft and uneven, or can you find good spots for a tripod? Is the place public or private? How tall are the surroundings such as trees and buildings? Depending on when you shoot, they'll be defining a lot of your consistency and level of lighting. It also wouldn't hurt to buy a compass and note East and West, then check an almanac for the sun up and sun down times for the time of year you plan on shooting. Also, depending on what equipment you have and what your power plans are, you should again check for outlets available.
Find out every benefit and drawback. Weigh options. Make notes of the colors, architecture, available space, and anything else that will help in choosing costumes, establishing frames, setting blocking, and other decisions that can be knocked out ahead of time. It's a good way to save time on the day of shooting. If you don't have a digital still camera, get one. Take as many pictures as you can. For one batch keep the flash off, so you get an idea of naturally hot spots, where the lighting is good and where it's weak as the camera reads it, and what you need to light around. Then use the flash just to get accurate layout and shot ideas.
Take all of this home, go over your script, and make sure you have all questions and concerned at least recognized if not yet solved. Take your time, because you have two weeks until I can get you some advice on securing locations. Part two of three!
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| Make Me Proud |
Every other Monday
Exploring everything you should consider as you make your
indie masterpiece.
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| Patrick Storck |
Patrick hails from Baltimore, MD, where playing by the rules is frowned upon. Only average things come from playing it safe.
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