Production
Production is the time during which you shoot all the material for your film. Interestingly, this is the shortest phase of all the phases of filmmaking.
Production comes in all shapes and sizes, depending on the needs of your project. Some productions may have dozens of crew members. Others might only have one or two. A larger crew does not necessarily mean a better shoot. Rather, the quality of your preproduction will determine how successful your shoot winds up being.
Whether you are shooting a fiction, a nonfiction, or an experimental project, tailor your production to your specific needs. First and foremost, do what’s right for the project!
A short film may shoot over 1–5 days, and a feature may shoot for 21 days or take up to several months, depending on varying factors (budget, availability of actors, etc.).
What is captured during production?
- image
- sound
Camera and sound departments work in tandem to capture all required material.
On set, one is performing the same actions repeatedly:
- prep the shot
- shoot the shot
There is a whole set of protocols in place to make filming easier. Given how complex and often complicated productions can be, these protocols remind everybody what to do at all times. Fortunately, you can remember every step that is required of you by memorizing a key acronym: BLRTS.
BLRTS refers to the order in which we do things as we film each shot. Sometimes you will spend more time on one of these items than on others, but you should always run down the list in your head to make sure you have covered everything.
B – Block
Blocking involves figuring out how the camera and actors move and interact within the space. Blocking actors means figuring out where actors will stand and how they will move during the shot. Blocking camera means figuring out where the camera will be positioned and how it will move during the shot.
Perhaps the camera slowly tracks alongside the actors as they walk along a street. Perhaps one of the actors stops to tie their shoelaces. Perhaps the camera pans to introduce a new character.
Think of your blocking as an intricate dance between the camera and the actors that must be understood by the entire crew so that they can do their jobs accordingly.
For example, the cinematographer needs to understand the blocking of the shot to light it correctly. The sound department needs to know the same so that they can position the boom correctly or utilize other sound gear (e.g., lavalier mics) as necessary. The crew should watch the blocking to inform any decisions they need to make regarding their work.
L – Light
Lights are set or rigged by grip and electric based on the cinematographer’s plan.
If this is a master shot of the scene, it may take longer to light than if it is an insert of one piece of the action.
The first time you light a scene will likely take the longest. Subsequent shots may only require minor adjustments.
R – Rehearse
Don’t shoot anything without rehearsing it first. This includes rehearsing with the actors and rehearsing any camera movement. Rehearsal is an essential step that will enable you to iron out any issues that may arise and avoid wasting time later.
The rehearsal process can happen as other departments are prepping for a take, but you can also ask to hold the work in order to conduct a rehearsal.
Do not shoot the rehearsals.
As mentioned above, the rehearsal process is essential for ensuring a strong take. It requires that the actors and crew focus on the mechanics of the shot to smooth out any problems. Shooting a rehearsal will change the focus of those involved and won’t allow them to make necessary corrections or adjustments as they work.
T – Tweak
With the rehearsal concluded and in anticipation of shooting a take, now is the time to make any final tweaks or adjustments. This may include tweaks to lighting, blocking, camera movement, and set dressing.
S – Shoot
Shoot a take!
Follow the protocol outlined below under “Calling the Shot.”
Assuming you have followed this protocol closely, the chances are very good that you will wind up with a take that you are happy with.
Takes go wrong when the correct procedure has not been followed. This will result in the need for multiple takes, thereby making the process take longer than it should.
Stick to the BLRTS process, and you will save yourself a lot of time and a big headache. Rushing these steps will only slow down the process.
Calling the Shot
This is the protocol used for every take of every shot.
AD: “Quiet on set.” This an indication that everyone present should be quiet and stop all movement. Do not delay.
AD: “Camera ready?”
Camera operator: “Ready.” This is an indication that the camera operator is ready to push record (if it is a take) or rehearse camera movement (if it is a rehearsal). It is also an indication that the assistant camera person is in place with the slate.
AD: “Sound ready?”
Mixer: “Ready.” This is an indication that the sound crew is in place and ready to record.
AD: “Roll Sound.”
Mixer: “Speed.” This is an indication that the mixer has begun recording sound.
AD: “Roll Camera.”
Camera operator: “Speed.” This is an indication that the camera operator has pressed record and is recording. Note: The term “speed” is an indication that the equipment is running at the speed necessary to create sync sound.
When the slate is in place, filling the frame, the scene and take are called (e.g., “scene 3B, take 2” refers to the second take of the second shot for scene 3).
Note: Do not use funny words to indicate which shot it is. “Three baker” is preferable to “three bunny.” It is not the job of the assistant cameraperson to make people laugh. Furthermore, laughter can be very disruptive and disrespectful to the director and actors.
The slate is then removed.
Camera operator: “Ready.” This is an indication that the camera operator is ready. They may have had to adjust focus or framing after the slate.
Director: “Action.” This indicates that the action may begin. This includes any previously rehearsed action, such as camera movement and performance.
The shot plays out as rehearsed.
Director: “Cut.” This is an indication to all that the shot is over. The sound mixer will stop recording, as will the camera operator. Actors will stop performing.
Note: At the conclusion of a shot, simply move to the next shot and repeat the same order of events. Throughout the day, you may repeat the BLRTS sequence multiple times.
A typical production day involves the following:
In many ways, production is simply a matter of solving one problem after another. Things will go wrong. Equipment will malfunction. Actors will forget their lines. The weather won’t cooperate. The boom will get in the shot. The focus will be off. Time will run out. And on and on and on.
Stay calm, address the issues as they come up, and remember that things may not always go according to plan. However, if you remember what your ultimate goal is (what you are saying with this project), there are always alternative approaches you can take.
So, stay calm!
Production is exhausting and exhilarating and terrifying and wonderful and terrible and amazing and exhausting again. If you’ve made it through production, be sure to congratulate yourself. You deserve it.
