Production

Okay - so we get to the big day. If this is your first time with a crew, you will struggle. It can be a little overwhelming. It's like when you first start filming in public - you'll feel awkward and not want to be there. But after you gain some experience, members of the public won't even phase you - and in just the same way, experience on set will ease you into working with the team.

Here are some pointers for production:

• Remember that first shot - keep it simple
• Keep lots of refreshments on hand - it might be a good idea to buy lots of sandwiches, chocolate bars, cans of drink, etc and put them in a big cardboard box for people to access.
• Remember to find out what people like - some people are vegetarians, for example.
• Have regular breaks, but do not break up the impetus of the shoot. Consult the crew - they might be willing to get a few more shots done before a break. I had a break after each camera set-up. The lights are so intense, that when you turn them off to change set-up, everyone will need to have a breather.
• Stick to the shot list. Don't get distracted.
• Do not use 'auto' settings for exposure, focus, etc. Your Cameraman and.or DoP will set these. There is nothing more embaressing than having the autofocus jump all over the place in a scene.

Here is an equipment list that you should consult before going on set:

• Camera(s)
• Camera Batteries (Fully Charged) + charger
• Leads to plug camera(s) into power sockets
• Boom Pole
• Boom Mic, with accessories
• Relevant sound recording device + leads + accessories
• Sound Capture Device (E.G. DAT Machine) Batteries (Fully Charged) + charger
• Gaffer Tape
• Scissors
• White Balance Card/Paper
• Extension Cables
• Lighting Gels, Diffusion Materials and Black Card
• Crocodile Clips (for clipping gels, diffusion material to lights)
• Industrial Gloves (so you don't burn yourself moving lights)
• Box of food and refreshments
• Chalk and a Clapperboard
• Box of DV Tapes
• Box of minidisc/DAT tapes (assuming you use either)
• Mobile Phones with numbers of local taxi firms - just remember to keep them switched off during takes

Previous to a day's shoot, you should have discussed with your DoP and cameraman the various set-ups you want to shoot. When you arrive on an interior location, you normaly follow the following process:

1. The Crew move all unnecessary furniture, etc out of the location, or to a safe place inside the location that will not obstruct the cast and crew.
2. The DoP and Gaffer begin setting up lights. Any extra work the DoP wants done is then carried out by the gaffer, such as gaffer-taping black card over windows. This is done so that changes in natural light cannot obstruct the continuity of the shots in your film. If your shots are supposed to have daylight in them, the DoP will probably use a powerful light and some blue gels to simulate it. They will give you a list of things they need in advance after discussing your storyboard with you. I was asked to provide blue gels, diffusion material, some reflectors (a cheap relector can be cardboard with tin-foil glued to it), and a flag (used for blocking out light - a cheap way to make one is a large chunk of hardboard painted black).
3. When the set is lit, the director will walk the actors through the action. You will normally do a few dry runs and mould the performances as you go. The Sound Recordist will also record approximately 60 seconds of general background ambience which can then be used to make the editing between dialogue seemless and fill in gaps between dialogue. This is called a Buzz Track.
4. When you are ready to do a take, firstly ensure all the cast and crew are aware you are going for a take and are 100% sure of their job during the take.
5. Before any action, you instruct the cameras and sound to roll. Your DoP/Cameraman and Sound Recordist will both then acknowledge that cameras and sound are rolling. At this point, the Production Assistant (PA) will move into shot with the clapperboard clearly readable, and read out the scene number, shot number and take number, and then clap the clapperboard. It is then down to you to shout action. Wait at least 5 seconds after the clap before you do so. There are a number of different types of actions that could occur. For example, camera action, background action and main action (involving actors). If the shot begins with a slow pan inside a packed basketball stadium, and ends on two people in the foreground commenting on the performance, then you firstly shout 'background action' to ensure that the crowd and players are doing what they are supposed to do (cheer, wave arms, play ball, etc). Then you would shout 'camera action' to begin the pan. When the two foreground actors are in frame, simply shout 'action' and they will begin as directed.
6. If any of your actors make mistakes during their action, try and get them to pick-up their lines, as it saves having to do another take. Also, if an actor makes a mistake at the beginning or middle of a take, you will lose all the rest of a potentially good take if you shout 'cut'. Simply inform them of the mistake, then get them to continue. This will happen when there is bad sound too. The sound recordist will tell everyone to halt if there is an unwanted noise being picked up on his earphones.
7. When the take is complete, simply shout 'cut'. If you did not get a clap at the beginning, then tell the actors to halt action, and then get the PA to come into shot and clap, then shout cut. Some people hold the clapper board upside down for the clap when doing claps at the end of a take. Let the DV tape run at least 5 seconds after the actions has halted before you shout 'cut'.
8. Your sound recordist will have a sound log, which they will fill out to say which takes had clean sound, and which ones had problems. All a log really needs to tell you is the shot number, take number, and description. It is desirable that the same should be done for the picture. When I filmed Mnemosyne, sometimes a bird would come into shot at the end of a take, so the camerman would make a note of this. It's good to know things like this, as the rest of the take was clean and could be used in editing.
9. It's up to you how many takes you go for. I like to have at least two good takes before I move to the next shot.