Words By TNGlive

In part 1 we discussed the preproduction process. We saw how scheduling and budgeting is central to your role as producer, as well as recruiting and securing the services of the team and cast that will help you execute your vision.

In part 2 we’re looking at what to expect during the production stage, as well as what you should be working towards as the producer to ensure you're getting the best possible value for your money.

The Director

Storyboard example.

What to expect: As producer, it is imperative that your director has a shot list or storyboard for the planned shoot day. In an ideal situation you would have ample experience behind you to be able to spot an over ambitious plan, allowing an opportunity to make immediate adjustments before the shoot day. If it’s your first time, you’ll be relying heavily on your hired director to be realistic about of how much can be executed on the day.

Goal: Your most important goal as producer is to make sure you ‘make your day.’ That is to say whatever is on the shot list or storyboard, will be successfully shot within the allocated time of your shoot day. Pick ups, the term used for previously unscheduled time to shoot what was supposed to have been shot, are a danger to budgets. Sometimes you have to be the one who keeps an eye on the importance of all the shots that need to be captured in order to have a cohesive product at the end, instead of just the one magnificent glory shot. So nudging the director to move on accordingly may be necessary from time to time.

Camera Crew

What to expect: Your Director of Photography, his camera and lighting team should be experienced with the equipment that they’ve selected. This is not the time for trying out new gear because it wastes time during the shoot, which ultimately comes out of your pocket. New gear experience is something they can personally arrange with a chosen gear house.

Goal: It’s best for you to familiarise yourself with various classifications of film lights, e.g. Red Heads, HMIs, KINO-Flos. Don’t stop there, also think about the type of music video you’re shooting, and research what type of camera within your budget would be best for the job. A good source is Philip Bloom, a renowned cinematographer who does extensive but easy to follow reviews of different camera technology. These steps could save you a fortune in executing works with high production value when you consider that your concern is the best picture at the best price, whereas camera crew are usually concerned with the latest and most expensive equipment the maximum budget can afford.

An Illustration.

If scheduling of your music video shoot leaves you with night shoots as your only choice, you could hire an ARRI Alexa because of its ability to film dark areas well, an HMI and red heads to light your set. Or alternatively you could hire a significantly cheaper Sony A7s, which is unmatched when it comes to low light performance; just look at Philip Bloom’s Now I See below for an illustration.

General Administration

What to expect: The buck stops with you. If anyone wants to know where the toilet is, you have to have an answer. Someone wants to know what time the set is breaking to have a meal, you have to know. Police arrive and they want a permit to show you have permission to shoot there, you must have it with you.

Goal:You must make sure everything else that has been booked for the day is available at the time you require it, before you require it, in order to allow yourself time to make necessary alternative plans should it be needed. This could mean access to a location, collection of props, etc.

You need to make sure all personnel are on schedule to be where they’re needed at the times they are needed.

Ultimately, your personally designed Call Sheet, derived from your scheduling, helps in communicating your expectations of everyone. This means making sure at least 24hrs before the day, your call sheet has been received by every crew member and cast.

What is a Call Sheet?

It contains all the information everyone needs to have for the day. This includes call times, addresses for the shoot, what is being shot, who is needed for each scene, what wardrobe needs to be prepared for whom by what time, closest emergency service incase of any accident on set, your contact number incase anyone needs to get in touch.

It’s A Warp, But Not Quite.

The end of the shoot day is almost the end of the shoot for everyone on set. After gear is returned and checked in the next morning, the DOP’s crew can also call it a wrap. At this point, it’s now you the producer, the director, the editor and ideally the cinematographer who will deal with post production. More on why follows in part 3.