Coverage & Improvisation

[ciscokid]

Let's say you have two characters sitting at opposite sides of the table facing each other. You want to experiment with the scene and do a lot of takes; a couple sticking to script, then a couple with minor alterations for variety, then a couple where you let the actors just do whatever they want. The first shot you do is the master - but you need additional coverage for a Mid-shot and close up shot of both players.

Is the best strategy to do all the takes in master shot first, then from the six or so takes you filmed pick the one you liked best then get the players to repeat for the closer shots?

What if the take you liked was one where the actors improvised, it may be difficult to get the performance exactly as it was in the Mid & Close shots - do you just take what you get in the additional coverage and hope it fits with the master you liked, or do you also pick your second favourite take (perhaps one without improv) then do the mid & close shots for that as a backup?

Another strategy would be to do a master shot first, then whenever you get a take you like you go in for the closer shots while it is still fresh in the actors mind.

I'd like to hear how other people handle it.

 

[Mannie Bothans]

Or borrow extra cameras for covering different angles at the same time?

 

[ciscokid]

Or borrow extra cameras for covering different angles at the same time?

Well, yes, but assuming you have one camera. Even with an additional cameras this question still applies, as you wouldn't be able to shot the master and the closer shots all in one take.

 

[knightly]

On a multiple camera shoot, you'll need to light more like TV. or you can just shoot a master and mic both of them so you can separate the dialog better in the edit.

 

[mus]

the way my group usually does it, and I improvise 90% of the time, I'll set up the camera for one angle, and each actor will improvise... then I switch angles and ask them to do as much as they remember from the previous take... then new stuff. I do that as much as necessary. Other times, if it's only for a few lines, I'll just remember what the other actor has to say/react to in the reverse.

Several times we have done entire shorts with neither a script or an idea whatsoever, going all "Whose Line Is It Anyway" style, in which case the cameraman moved depending on whoever was talking. I highly recommend this strategy if the improv is that extensive. Handheld shot, Fast Pans, Cutaways, all crucial.