![]() Therefore, any lighting I plan out, or indeed rig, prior to seeing a blocking rehearsal will not compromise the possibilities available to the actors and director. In my opinion, little can be decided before the director has rehearsed with the actors. Repeat this to any mundane action anywhere you go.įirstly, I like prep but that is not to say anything that is imagined during prep has to be what is shot. Next time you go to supermarket wonder yourself what would be the best spot to get the best frame you could get if you need to shoot someone picking a bag of carrots. Something as basic as where is the best spot to shoot in any location (based on the actual light and architecture of the place) you can train even with your phone while you do your daily stuff. The fast approach to get not useable images but amazing ones 1 minute after you arrive at one place gives you an enormous experience and prepares you to be in your toes and work fast and efficient. So in case first idea don’t fall you have back-ups.Īlso, and this is my personal opinion, every DP out there would need some years of experience shooting Documentaries on the field. But as I said you need to know how they work before shooting days so at least you have a plan already in the head and can transmit ideas right away. Usually I like to visit all locations and discuss with them but sometimes it’s not possible so you have to improvise on the spot. Whatever they like you need to come prepared, if director tells you way ahead he/she doesn’t have any shots in mind and wants to get on set to discuss them you at least come prepared. ![]() To answer your specific question is really hard as you have said some directors like to find the shots on location, some like to come with a define shot list to the set. And in the future with all these LED walls and Virtual Production systems coming the gap between commercial and authentic will be broader. The big studio ways to shoot a story are dead and completely boring to me as the results are often the same. But it was a crew of a handful people.Īlso to me thanks to newer and cheaper technology it’s gonna be what will really change cinema. There are few interviews online that you can learn how it was shot. That’s one the reasons I really prefer European cinema (or anything outside US), as it’s more freer in that regard and the result they show, but watch “The Rider” for example in US, that film looks and feels more authentic than 20 big studio production together in my opinion. At the end results is what counts and you can see how some films are amazing in part for how they were shot. People are free to develop a system that work for them. Outside big productions anything can happen. The type of the shoot is also important, if it’s doc or fiction, or an hybrid. What I’ve encountered is that at low budget productions it really depends on the production itself and what workflow has been stablished with the people, how much crew there is around is also important. ![]() I can’t wait to see ‘EOL’, I will go to the theatre this Wednesday! Surely I will have tons of questions about the movie□. I always thank you for your patience and for your time Mr. Of course, my scenario is really low-budget feature/short film/commercial, etc. In order to work better in the future and maybe reduce this kind of stress, I would to ask you about your workflow and, maybe, learn a better plan.ĭo you always think and prepare your light plans after the staging/shot list of the scenes during prep? (I know that it will depend from director to director). The same thing is applied with the angles of the camera, when a director wants to change an angle or maybe wants to “find” the frame during a day so maybe your initial light plan is vinified cause the light and the rig are on the shot. In my not big “experience,” I sometimes faced situations where the director want to stage the scene on location during the day and sometimes it vinified my initial light scheme, this for me was really stressful because, in a short amount of time, I had to rethink a light pattern which fit with the idea of the story (while the AD that asks for time for the prep.). My question is about in which order you proceed. Deakins and also other DPs who want to answer my question) workflow during prep about light schemes + staging + shot list, etc. I would like to ask you if it is possible, for your (Mr. I know you are very busy with the ‘Byways’ tour. Deakins and all the DPs over this fantastic forum.
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