“Lights, Camera, Action!” We’ve all had that image of being the Director on set: Sitting in the chair, bringing a brilliant shot to life while the actors say your words exactly the way you wanted them to. That’s the dream, but the reality is more of a puzzle… and being on set is where you build and connect your puzzle pieces.

Yesterday’s Prep Becomes Today’s Mission

Every production day has a goal for how much of the script is going to be filmed. Typically, big budget action/adventure movies are lucky if they get through an eighth to quarter of a page. This is because the camera and lighting set-ups take a vast amount of time. Additionally, if it’s a scene that requires special effects, that equals more setup time, leading to less actual filming time. Now you understand why it takes months – or even years – for our favorite super hero movies to get made.

On the other side, independent films, like The Storyteller, often have to get through multiple pages/scenes each day. This is because you generally have a limited amount of time in a location and your entire shooting schedule isn’t three months – it’s three weeks. Because the shooting pace on an independent film is so quick, prep work such as Tech Scouting, Rehearsals, and the director creating a shot list is vital. So let’s talk about the shot list for a minute. It is literally a list created by the director that describes every shot they want for a particular scene. If you type “How To Make A Film Shot List” into youtube, you will get a page of videos detailing how you can create your list in photoshop or use different programs. This is all well and good, but never underestimate a pen and a piece of paper. Here you can see an example: the shot list for my short Lucky Charm.

The capital letters in the linked example stand for the name of the characters, “C” is for Colin, “D” is for Danni. And I use abbreviations for the type of shot, “MS” is for Medium Shot, etc. Example: CU C = I want a close up of Colin.

An excerpt of the final, edited scene can be viewed here.

How Does The Day Begin?

It’s pretty much universal, that a filmmaker’s day starts with a meeting between him/herself, the DP and the AD. They compare the prep work against the specific mission of the day.

As we’ve discussed, the AD acts a liaison between the Director and all the other departments. So once the meeting is finished, they are responsible for making sure that the plan is executed in the given time you have for any location. Basically, while on set, it’s the AD’s job to make sure your train keeps moving down the tracks – even if you’re the one holding it up.

It’s ALWAYS a compromise.

There was a good amount of thinking on our feet. You have to be ready to roll with unexpected delays and curve balls. The location would sometimes change the initial plan, the light, the weather forecast… all kinds of things. – Rachel Noll, Producer of The Storyteller

The scope of any film (or any project for that matter) is made up of three factors: Time, Quality, and Expense. You want to make the best film in the quickest amount of time without spending an exorbitant amount of money.

There’s often this perception that (excluding Steven Spielberg and Ridley Scott) there’s no creativity in big budget filmmaking and independent film is where an artist gets to really share a vision. But filmmaking, whether at a studio or on the independent level, is as much about creatively solving problems as it is about being creative.

For my money – time is your most valuable asset in filmmaking. This is because it gives you options. It lets you get coverage from a different camera angle, do another take. It’s because of this that sometimes the answer is not buying more time, but rather maximizing the time you do have.

This was the mindset used on the set of The Storyteller:

We did fall behind. That’s bound to happen, but in my eyes, it bred creative solutions. We started looking at the shot lists and deciding which shots we could lose, what was less important, and how to maximize the time we had left. We didn’t end up cutting any full scenes, but we would cut coverage. Joe and I would talk with Dan and the AD and figure out what shots weren’t essential to telling this part of the story, and we would make a game time decision. You really don’t know how well that kind of snap decision works out until you are editing it together, but on a tight budget and an even tighter schedule, sacrifices have to be made and you do the best you can to make it a creative choice. - Rachel Noll, Producer of The Storyteller

Where Is Everyone?

After the initial meeting between the director, DP and AD, the next step becomes prepping the scene. Blocking is a technique used to help the DP decide how to light the scene. Blocking is essentially this: The actors along with the Director decide where they will be on set in a given scene. You’re planning out their actions. So why take the time to block when time is so crucial, you ask? Well, let’s ask the filmmakers on The Storyteller.

It gives the DP and his team enough time to light and prep, while the actors are getting ready, to maximize our time. The actors would meet with Joe (the director) and block this scene, and then they would go into hair and makeup while the lighting team would set up. Joe would often join them in wardrobe/makeup to talk through the character beats of the scene at this time. - Rachel Noll, Producer of The Storyteller.

Yesterday, Today and Tomorrow – All Happening At the Same Time

While the DP, Production Designer and Sound Department are all prepping the set for their respective needs, the Director and Producer can use the time to run through their plan from yesterday (yesterday meaning pre-production) and continue to prep tomorrow’s.

Joe would often be with the actors, or looking at his shot list to make sure he was clear on what he was doing and thinking the rest of the day. I would usually step off set and move back to my computer to deal with logistics with the locations, with payroll, with SAG… lots of paperwork and busy work to be done on my part that I tried to wrap up as efficiently as possible in between shots since it was important to me to be on set and with Joe at the monitor whenever we were shooting. – Rachel Noll, Producer of The Storyteller

Everyone On Set

The DP has finished setting up, the actors are back from Hair & Make-Up, everyone’s ready for a take… is it finally time to start shooting? Well you can, or you can do a rehearsal. Different than you, the filmmaker, and the actors working privately in a room, a rehearsal on set is as much for the crew as it is the actors. (Actually, if you ask some actors, it can be exclusively for the crew).

This rehearsal allows your crew to practice their moves: dolly shot in, a focus pull. It solidifies the basic blocking. It’s more prep that increases the chance for a technically perfect shot. But again, it costs you time.

The compromise? You can always be like Danny Boyle and shoot the rehearsal – which was actually requested by an actor!

From Action to Cut

The time between action and cut is the time where the actors really get to contribute to your film. It’s when the magic comes alive. You have to respect that it’s that time between action and cut that everyone, not just the actors has been waiting for. Simply getting a take isn’t the mission, nor is getting the perfect take. Because frankly, unless you’re Kubrick, you won’t have the time. It’s about getting the take.

The take can be defined by many different things, but it ultimately comes down to satisfaction. Are you – the filmmaker – creatively satisfied? This isn’t a question I or anyone can answer for you. It’s a gut feeling that’s in a perpetual state of motion and develops every time you make a film.

Thank The Crew!

Whether you’re a PA on the next blockbuster or the director of your own independent short, you will discover that every set has an atmosphere unique to itself. Making a film is a team effort and you set the tone as the filmmaker. You have to be patient but strong with your crew, creating an atmosphere that allows everyone to do their best… not just for you but for them.

On an independent film, a filmmaker’s greatest asset is indeed their crew.

We had a lot of interns and crew members who had never worked on a feature before, given the limitations of Indiana local crew, and they surpassed my expectations far and away. It took us a few days to get into our groove, but everyone worked so hard and I was incredibly proud and impressed by the level of proficiency and passion they all displayed. – Rachel Noll, Producer of The Storyteller

On set is where where drive meets preparation meets sheer luck. You’re bringing a story to life and every day (and I do mean every day) will come with its own set of problems. But you have to make sure that your push to make a film doesn’t make you forget the magic of the story.

Here’s JJ Abrams talking about the magic of the “mystery box.”

Check out this list of crew titles for a better understanding of who’s who on set and why they’re all there. And don’t miss the upcoming Storyteller Series articles on utilizing dailies and how to shoot for editing.

By definition a tech scout is an on-location walk-through with your production’s department heads – think director, cinematographer, UPM, 1st AD, production designer, etc. – ahead of shooting at that particular location. This walk-through will give each department a chance to familiarize themselves with the location and the challenges it may bring. In other words, it’s a final preparation of the technical logistics associated with each major shooting location.

So, with terms like “department heads” and “technical logistics” being thrown around you’re probably thinking that a tech scout is something reserved for big budget movies, right? Wrong. They most certainly do it, but if you’re helming a low-budget indie production, you probably have even more incentives to do a tech scout before your shoot. Ask yourself this: Can I afford to rent my location for an extra day, if I encounter unforeseen circumstances? Will my lighting package be able to compensate for any changing conditions? Do I have the necessary means to do extensive ADR on noisy takes? No, you say? Then you better plan ahead.

Typically you will do your tech scout during prep week, about one week prior to the actual shoot, when all department heads are able to get together and finalize their preparations. However, if you have access to your locations even further ahead of time, there are benefits to visiting them.

During pre-production Joe did some initial location scouting and we rewrote scenes once we understood the layout and limitations of the locations available to us, so the script reflected accurately the locations we will be using. – Rachel Noll, writer/producer of The Storyteller

Once you have the script locked in, locations secured and shot lists made, you do the full tech scout of all major locations.

Producer, DP, Director, 1st AD, Production Designer, UPM, gaffer, key grip – they were all there. We wanted to make sure all the heads were clear on the limitations and possibilities of any given location, so we could all plan accordingly. Any limitations on power outlets or lighting sources, etc. we wanted to be able to make a note of, and also have an eye on the production design, possible areas for actor holding, for makeup and hair, and other details, so we were prepared come the day of the shoot. I think all the departments can benefit from a scout prior to the shoot, just to know what they are up against and to be able to plan contingencies or brainstorm creatively if things aren’t ideal or there are any surprises. – Rachel Noll, writer/producer of The Storyteller

Let’s break it down.

Producer – will be working with each of the department heads to accommodate any changes in budgeting due to the limitations or possibilities uncovered during the scout.

DP – will be making sure the planned camera movements will be possible. Are there narrow corners to turn? Will there be shots in harsh light? Your DP might change certain shots to accommodate the locations and retain the overall visual aesthetic.

Director – will be balancing the vision of the film with the circumstances and making any necessary changes in shots to stay as true to the original intentions as possible.

1st AD – is largely in charge of scheduling, background actors, callsheets and script breakdown, so any changes to either of these based on the limitations of the location will be noted and arranged accordingly. Is there a proper holding area for the background cast? Will shooting have to wrap an hour earlier than anticipated due to traffic conditions in the area – and what does that mean for the callsheet?

Production Designer – takes note of anything that needs to be dressed for the shots planned and anything on location that will add to or subtract from the environment she is trying to create. Also pay attention to details like whether the centerpiece executive boardroom conference table that’s been rented for a certain scene is able to fit through the doorframe and whether the colors of the the costumes are going to clash with the wall color.

UPM – the Unit Production Manager oversees all the off-set logistics, as well as day-to-day budgets and production personnel, so if a certain location calls for more lighting than initially planned for, the UPM needs to make sure this can be made available, is budgeted and operable with the hired crew – or make the necessary changes.

Gaffer – is the chief electrician on set and will need to make sure there are adequate power sources for the lights that will be brought in. Will a generator be needed? Are the outlets on separate circuits? What’s the maximum load for each outlet?

Key Grip – will in large part be responsible for making the director and DPs wishes come true, so if there is limited space on set or a shot calls for more equipment than can safely be utilized in a certain location, adjustments must be made in advance.

All of these obviously work together, which is why the tech scout is best done with all department heads at once and not separately. Filmmaking is a collaborative process and the tech scout is the perfect opportunity for everyone to contribute in order to make your film the best it can be.

Not only is it an important part of the final stages of pre-production, the tech scout is also a hell of a lot of fun – it’s great to get a chance to know your crew and to be impressed by what they do. And doing the tech scout also means that we are just days away from shooting – at last. – Joe Crump, writer/director of The Storyteller

In some cases you will need to do your tech scout months in advance, so every single aspect of your shots can be meticulously planned and rehearsed, like for the 2015 Academy Award winner Birdman. Because of the extremely difficult long shots used throughout the film, the crew prepared by drawing up a minimalist (but to scale) version of their theatre location in a warehouse and used that space to rehearse camera movement, cast movement and lighting for weeks before the actual shoot. Imagine pulling this off without diligent planning:

Follow the entire process of making a film – up close and personal – through the trials and triumphs of The Storyteller, as told in our on-going article series.

Buz Wallick is an independent producer in Los Angeles, California. Born and raised in Northern California, he cultivated a love and fascination with cinema. Buz has the unique background of being self taught and working on the crew of over 100 projects, including Cinematographer of the award winning documentary Never Sleep Again: The Elm Street Legacy . In 2012 Buz began to produce and with his extensive knowledge of film production Buz does what he loves to do; tell stories through the art of cinema.

We have many more interviews in the archives and new ones are constantly being posted, so be sure to subscribe to our Youtube channel and/or our newsletter to keep yourself up-to-date.

When you produce a film there are many things to consider, arguably most importantly things like budget, schedule and safety. Sure, you should have a good story too, but let’s trust that the writer and director has that one covered. As a producer you want to make sure that your director’s vision can be realized within the budget you have available, without adding extra shooting days or compromising the safety of cast and crew. But you can only identify these possible hazards (financial or physical) if the script is locked.

Heika Burnison is the owner of White Light Audio, but she’s also working as a producer. A producer producer, that is. Confused? Good. Watch below.

More videos with Heika – and many other exciting young filmmakers and entrepreneurs – are posted all the time, so be sure to subscribe to our newsletter and YouTube channel.

We recently had the pleasure of speaking with Heika Burnison – an extraordinarily talented woman wearing many proverbial hats – about her sound design company White Light Audio and some of her favorite tools in the field and in the studio. In videos soon to come, we’ll also be talking about exciting stuff like how to run a small company that people want to work with, how to capture audio for 360° virtual reality films, and even her role as producer on million-dollar projects, how to find tax incentives and much more.

Since film is a visual medium, let’s skip the written bio for once and let you instead have a look and a listen for more on Heika and White Light Audio:

Does that mean you have to revisit your script? So be it. Unless you can find the elusive ‘white whale’ investor that really just wants to be involved in the glamorous world of movie-making.

Buz Wallick is an independent producer in Los Angeles, California. Born and raised in Northern California, he cultivated a love and fascination with cinema. Buz has the unique background of being self taught and working on the crew of over 100 projects, including Cinematographer of the award winning documentary Never Sleep Again: The Elm Street Legacy . In 2012 Buz began to produce and with his extensive knowledge of film production Buz does what he loves to do; tell stories through the art of cinema.

We have many more interviews in the archives and new ones are constantly being posted, so be sure to subscribe to our Youtube channel and/or our newsletter to keep yourself up-to-date.