rehearsal

Planning Camera Angles and Lighting

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Discussing shots with director Kate Madison on the set of “Ren: The Girl with the Mark”. Photo: Michael Hudson

A thorough plan for shots and lighting can save lots of time on set, but no battle plan survives contact with the enemy. To what extent should a DP prepare?

How much camera angles are planned – and by whom – varies tremendously in my experience. Some directors will prepare a complete shot-list or storyboard and send it to the DP for feedback; others will keep it close to their chest until the time of shooting. Some don’t do one at all, either preferring to improvise on the day in collaboration with the DP, or occasionally asking the DP to plan all the shots alone.

A shot-list can be hard to interpret by itself, particularly if there’s a lot of camera movement. Overhead blocking diagrams, perhaps done in Shot Designer or a general graphics app, make things a lot clearer. Storyboards are very useful too, be they beautifully and time-consumingly drawn, or hastily scribbled thumbnails.

An Artemis shot from “Hamlet” using stand-ins

On a feature I shot last year, we were afforded the luxury of extensive rehearsals with the cast on location. I spent the time snapping photos with Artemis Pro, the viewfinder app, and ultimately output PDF storyboards of every scene; the 1st AD distributed these with the call-sheets every morning. That level of preparedness is rare unless complex stunts or VFX are involved, but it’s incredibly useful for all the departments. The art department in particular were able to see at a glance what they did and didn’t need to dress.

One of my unused storyboards from “The Little Mermaid”

Beware though: being prepared can kill spontaneity if you’re not careful. Years ago I directed a film that had a scene supposedly set at the top of a football stadium’s lighting tower; we were going to cheat it on a platform just a few feet high, and I storyboarded it accordingly. When we changed the location to a walkway in a brewery – genuinely 20ft off the ground – I stuck to the storyboards and ended up without any shots that showcased the height of the setting.

If the various departments have prepared based on your storyboards, not keeping to them can make you unpopular. So storyboards are a double-edged sword, and expectations should be carefully managed regarding how closely they will be adhered to.

The amount of planning that the DP puts into lighting will vary greatly with budget. On a micro-budget film – or a daytime soap like Doctors – you may not see the location until the day you shoot there. But on a high-end production shooting in a large soundstage you may have to agree a detailed lighting plot with the gaffer and pre-rigging crew days or weeks in advance.

Having enough crew to pre-rig upcoming scenes is one of the first things you benefit from as a DP moving up the ladder of budgets. Communicating to the gaffer what you want to achieve then becomes very important, so that when you walk onto the set with the rest of the cast and crew the broad strokes of the lighting are ready to go, and just need tweaking once the blocking has been done.

My lighting plan for a night exterior scene in “Exit Eve”

Blocking is usually the biggest barrier to preparedness. Most films have no rehearsals before the shoot begins, so you can never quite know where the actors will feel it is best to stand until they arrive on set on the day. So a lighting plan must be more about lighting the space than anything else, just trying to make sure there are sources in roughly the right places to cover any likely actor positions suggested by the script, director or layout of the set.

Whether a detailed lighting plan needs to be drawn up or not depends on the size and complexity of the set-up, but also how confident you feel that the gaffer understands exactly what you want. I often find that a few recces and conversations along with some brief written notes are enough, but the more money that’s being spent, the more crucial it is to leave no room for misunderstandings.

Again, Shot Designer is a popular solution for creating lighting plans, but some DPs use less specialised apps like Notability, and there’s nothing wrong with good old pencil and paper.

Overall, the best approach is to have a good plan, but to keep your eyes and mind open to better ideas on the day.

For more about apps that DPs can use to help them prep and shoot, see my article “Tools of the Trade” on britishcinematographer.co.uk.

Planning Camera Angles and Lighting

Why You Shouldn’t Shoot the Rehearsal

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We’ve all been there. Schedules are tight. Sooner or later the 1st AD, a producer or even the director is going to want to save time by “shooting the rehearsal”. I strongly disagree with this and here’s why.

No matter how great an actor is, they have only a finite amount of performance energy. They can only do so many takes before the results start to go downhill. In my experience, most actors deliver their best performance on take one or two.

So those first takes need to be useable. They need to be in focus. The timing of the camera movement needs to be right. The boom needs to be out of frame. The prop in the drawer that the talent has to take out halfway through the scene needs to be in position, not still in the standby props person’s hand because they didn’t realise we were going that far. The view out of the door that the talent opens at the very end needs to have been dressed and lit. What, you didn’t know they were opening the door because they skipped that in the block-through and you didn’t get a rehearsal? Bummer.

The purpose of a camera rehearsal is to find all these problems without burning the actors’ performance energy. If you roll the camera on the “rehearsal” – and I use quote marks because it isn’t a rehearsal any more – the cast have to deliver a full performance. Maybe a great, spontaneous performance that can’t be repeated. The last thing you want is for a boom shadow to be hovering over their forehead for half the scene.

Things like boom positions and focus pulling especially can only be properly rehearsed with the camera up and the cast moving through their actual positions. And you can talk about a scene all you want, but a moving picture is worth a million words. There’s no substitute for everyone watching the monitor during that rehearsal and seeing exactly what’s required.

Is a camera rehearsal always necessary on every set-up? No, especially if the scene has already been shot from several other angles, or if everyone’s confident that they know how it’s going to unfold, or if the scene demands little emotional commitment from the cast. But it should be the default practice.

Will a camera rehearsal always throw up problems? Of course not. And if it goes perfectly, people will curse that you didn’t roll, and start asking why we bother with camera rehearsals anyway. That’s life.

Why You Shouldn’t Shoot the Rehearsal

Pre-production for “Harvey Greenfield is Running Late”

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Next week filming commences for Harvey Greenfield is Running Late, a comedy feature based on the critically acclaimed one-man play by Paul Richards. Paul reprises the title role in the film, directed by Jonnie Howard, who I previously worked with on A Cliché for the End of the World and The Knowledge.

The production is based locally to me in Cambridgeshire, and over the last couple of months I’ve attended recces, rehearsals and meetings. I’ve tried to approach it the same way I did Hamlet, reading each draft of the script carefully and creating a spreadsheet breakdown. Scene by scene, the breakdown lists my ideas for camerawork and lighting.

Harvey is a stressed and neurotic character who can’t say no to anything. The film takes place over a single day of his life when he finds himself having to attend a wedding, a funeral, a big meeting at his office, a school play and an appointment at a garage. Numerous scenes see him jogging from commitment to commitment (always running late in more ways than one) while taking phone calls that only add to the pressure. In the finest tradition of Alfie, Ferris Bueller and Fleabag, he also talks to camera.

Talking of finest traditions, the budget is very low but ambitions are high! With 100 script pages and 14 days the shoot will be more of a sprint than a marathon.

The UK film and TV industry is busier at present than I’ve ever known it, making up for lost time last year, so sourcing crew and kit has certainly been challenging. But thanks to generous sponsorship by Global Distribution and Sigma we will be shooting on a Red Ranger Gemini – which regular readers may recall I almost selected for Hamlet – with Sigma Cine primes and zooms. I will be working with a completely new camera team and gaffer.

One of the first things Jonnie told me was that he wanted to use a lot of wide lenses. This makes a lot of sense for the story. Wide lenses fill the background with more clutter, making the frame busier and more stressful for Harvey. They also put us into Harvey’s headspace by forcing the camera physically close to get a tighter shot. We shot some tests early on with Paul, primarily on the Sigma Cine 14mm, to start getting a feel for that look.

Influences include Woody Allen, the Coen brothers, Wes Anderson, Terry Gilliam and Napoleon Dynamite, and as usual, watching reference films has formed an important part of prep for me.

Based on the colour palette Nicole Stone has put together for her costumes, I’ve decided to use orange as Harvey’s stress colour and green when he’s calmer. For most of the film this will just be a case of framing in orange or green elements when appropriate, or putting a splash of the relevant colour in the background. For key scenes later in the story we may go so far as to bathe Harvey in the colour.

Right, I’d better get back to trying to sort out the lighting kit hire, which is still up in the air. Possibly this post should have been called Pre-production for “Harvey Greenfield” is running late.

Pre-production for “Harvey Greenfield is Running Late”

Undisclosed Project: Culmination

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Today filming begins on the Shakespearian feature I have been prepping since early February. All of last week was again spent in rehearsals, this time focusing on the second half of the script.

By the end of the week I had storyboarded almost the entire film, using Artemis Pro. The production designer was able to print these out and go through them looking for any backgrounds that he might not yet have dressed, or any obtrusive existing objects that should be removed. The 1st AD was also using them to help him plan, as he had not been present at rehearsals. This led to a minor panic when I erroneously included some characters in the background of a shot that those actors were not scheduled for!

Aside from producing these storyboards and getting a fantastic understanding of how all the scenes are going to be played and blocked, a big benefit of the rehearsal weeks was the opportunity to get to know the cast. Normally I have to wave a big camera in an actor’s face the first time I meet them. It’s much better to ease them and me into the process the way we’ve done on this production. A particular highlight was when the well-known lead actor performed some of the famous soliloquies – in the absence of a camera – right into my eyes.

It was a very busy week for all concerned. When the cast weren’t in rehearsals they were in costume fittings or make-up tests, or training for the sword-fight, or doing press interviews.

The gaffer started work on Wednesday, and was joined by the best boy and spark on Thursday. After loading in the equipment, their first task was to re-globe all the sconces and ceiling lights in the auditorium. Later they gelled all the emergency lights to make them dimmer and warmer in colour, ran distro to various convenient points, and cut poly-boards to size.

The camera kit also turned up on Thursday, a slightly surreal event for me after so long working in the building with just my laptop and iPhone. For a few scenes Sean wants to create a kaleidoscopic effect, so I had purchased some cheap kaleidoscope party glasses, a 6” teaching prism, and a set of crystals which can be hung off the matte box. Ironically the cheap glasses give the best effect! These will be hand-bashed in front of the lens, whereas the prism can be clamped to a noga arm for a more controlled effect.

I gave the focus puller a tour of the building so that he could start to think about monitor positions. That will definitely be a tricky aspect of the production with all the cramped backstage spaces.

I feel better-prepared now than I have ever felt going into a feature. It is such a contrast to, say, Heretiks, where I had just one week to get up to speed, and the gaffer had no prep time whatsoever. Nonetheless, there are some things you just can’t work out until the day, and that’s where the stress and excitement come from!

I’ll continue to write a blog during production, but I won’t be publishing it until the film is released. So there will be no new posts for the next few weeks, but normal service will resume in May! See you on the other side.

Undisclosed Project: Culmination

Undisclosed Project: Observation

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Well, it’s all very real now. For six weeks I’ve been documenting my non-continuous prep period on a feature film adaptation of a well-known Shakespeare play. It won’t be announced to the press until it is close to release, so I still can’t share the title or any other identifying details. I’ll go so far as to say that it’s being shot in a theatre (though not all on stage), and the director is from a theatre background

On Monday I checked into the hotel and began the first of two full-time prep weeks. Unusually, these two weeks are filled with rehearsals. I may, once or twice, have worked on a film that had perhaps a single day of rehearsals. Two weeks is unheard of, but of course it’s perfectly normal in theatre.

The strange thing for me is that just when a scene is taking shape – the point where I’d normally get involved, when the blocking is nearly final and it’s time to think about shots – we move on to the next one. The last bit of the rehearsals will be done, as normal, on the day of shooting.

As the actors explore the spaces, I do too. Some of them have changed quite dramatically, thanks to the efforts of the art department, since I last reccied them. It’s an unprecented opportunity for me to check many potential camera angles. Before we move on from a scene, I run around frantically with Artemis, trying to take enough shots to make a storyboard. A large part of today (it’s Saturday as I write this) has been taken up with selecting the best shots, scribbling annotations on them and outputting them as PDFs into a Google Drive folder where the director, 1st AD, 1st AC, production designer and others can see them.

During quieter moments, I’ve slipped off to discuss things with the production designer or the stage lighting designer, or just to sit in one of the spaces by myself and think through shots and lighting.

On Friday afternoon a tech recce took place, which I led because the director was still busy rehearsing. This was followed by a Zoom meeting to discuss issues arising.

Less fun but equally important things last week were completing a camera department risk assessment, and taking Covid tests, which leave you feeling like you jumped into a swimming pool without pinching your nose.

Undisclosed Project: Observation

The Dark Side of the Earth Podcast #2: Puppet Test

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Production of the insanely ambitious British fantasy adventure movie The Dark Side of the Earth begins with a single pilot scene, featuring a Victorian swordfighting robot. Director Neil Oseman and Sword Master A. J. Nicol put the puppet robot through its paces. Filmed by Gerard Giorgi-Coll and Simon Willcox.

The Dark Side of the Earth Podcast #2: Puppet Test