Few Questions

[MelonDome]

Lets use The Sixth Sense as an example. http://home.online.no/~bhundlan/scripts/TheSixthSense.htm

When a script like that is written, when does the director decide what lighting, and camera shots are used?

When exactly are storyboards drawn out?

Im just trying to piece together here, if M. Night got the money to make the sixth sense, what were his next steps? Did he draw out the storyboards to the film, then start hiring actors and crew? I would really be interested as to what people do after they have a studio giving them the greenlight to a script.

 

[Random_Acronym]

Prep

Well I think you need to look at all the departments and see what all is involved. Camera prep is almost the last to prep (maybe caterers and craft services get less prep time)

First and foremost a script breakdown happens with the producer and the director. They decide where they want the money spent and how. Likely at this point actors are already signed (the big names at least, I am sure they would hire say, the mom, later down the road. but osmand and willis signed likely before the greenlight)

Once they have their shooting schedule and budget breakdown, art and makeup (for a film like that) would begin. Production designers start on the sets, at some point wardrobe is brought into work and EFX makeup is designed and screentested. During all this time shots may or may not have been lined out depending on the directors style, but likely not fully. At this point they are trying to design the look of the film, although I am sure they have lots of ideas by that point, maybe even a signature shot or two they know they want.

As all this is going on the UPM and location scout are finding locations, finding permits and access for the director to sign off on. Wardrobe is finalized, makeup gets the final OK and art should be most of the way through construction.

Its only at that point, maybe 6-4 weeks before principle is to begin (more or less depending on budget) that the DP is brought in. They then start tech scouting locations. The director almost never decides how to light something. They will give cues to the DP to work off of like 'I want it to be very dark, with small highlights' or even more abstract 'think of the saddest darkest day of your life, and represent that in the light'. Once the DP has something to go off of he starts making his lists out. As he is making his grip and electric lists, the director and DP are either scouting the locations/sets or talking off the location notes and photos about how they want to cover the scenes.

Once coverage is somewhat organized the DP can refine his G&E list, as well as camera package list, for submital to the production team. DP has the key grip and gaffer add their lists, since most DPs (including myself) really only care about light placement and quality. I couldn't care less if my key uses a mombo combo or a high roller or a wall spreader. They also know better how to safely rig, so they add their lists. UPM or the DP try to arrange deals from rental houses, as bids come in they par their list down to fit within budget.

Once production starts it depends on the director. Some stick shot for shot with no additional coverage. Some use prep and storyboards as a rough guide. The DP and art dept. have to be somewhat flexible to adjust to new ideas that happen on set. Few films are done without on set inspiration and new ideas taking hold (and most that do are bad films)

storyboarding again is really up to the directors taste. I would say a shot list is much more important than a storyboard. A storyboard helps a director visualize what a cut scene might look like. A shot list tells the director and DP how much film to order, how much time to schedule, etc. Plus shot lists are easier to make, come before SB and can be changed easier.

hope that helps

 

[Spatula]

Lets use The Sixth Sense as an example. http://home.online.no/~bhundlan/scripts/TheSixthSense.htm

When a script like that is written, when does the director decide what lighting, and camera shots are used?

I'm assuming that would be in pre-production. Script is green-lit, casting and location scouting are started, and then while all the locations are set and actors sought, they probably do a bit of blocking (for important, key moments).. everything in regards to lighting is mostly planned out on set- the DOP tells the Grips where to put 'em, so the Director's shots look as good as possible, right?

As for shots, on big shoots, they usually plan out the shots beforehand so they can do everything in "set-ups"...

Like, draw a square, ok... that square is the room, or "set"... then put A, B, C, D in the corners... so it'd be like:

Shot 1,4,6,10 - Set-up "A"
Shots 2, 3, 5 - Set up "B"
Shots 7,8,9 - Set-up "C"
Money Shot - Set up "D", XCU... cue: when the actress says "Oh yes, this is the most wonderful pornographic movie I've ever been in... with my children"

So on the shoot, the AD or whoever would be like "Yo, peeps, we're doing set-up "A" now", so everybody knows, ok, put all the camera gear and shit at the "A" corner of the square. Then they do shots 1,4,6 and 10 in that Set-up.

After that, they go to "set-up B" and shoot the other shots. etc, etc,...

Knowing that, it makes sense to plan out the shots beforehand so you know what you need to get in each set-up, as opposed to running around with 5 tons of cameras and lights trying to figure things out while the overpaid actors eat your overpriced catering...

Of course, you can't really make a "set-up" before you have a location, so I'd assuming most storyboarding happens AFTER the script is locked and BEFORE the "Set-up List" is crafted.

When exactly are storyboards drawn out?

Depends.

Could do it while writing the screenplay, or have someone else do it after you've written it, but before being sold.
Could sell the script and have the studio get a storyboard artist to do it.
Could do it the night before on a cock-tail napkin.

Personally, I only storyboard sequences where I want something VERY specific, or complicated. If it's just going to be shot "straight-up" (as opposed to "on the rocks") then you don't really need to spend an hour in MS Paint drawing boxes and stickmen.

Im just trying to piece together here, if M. Night got the money to make the sixth sense, what were his next steps? Did he draw out the storyboards to the film, then start hiring actors and crew? I would really be interested as to what people do after they have a studio giving them the greenlight to a script.

Probably sold the script on spec or something, attached himself to the project as a director, got together with studio heads, contracted a story-board artist while wrangling the rest of the crew, cast and locations, and then probably had a decent "production bible" assembled before even meeting the lead role players.

but i'm just assuming. The wonderful thing about film is that there is KIND OF a process which you have to follow, but there's lots of wiggle-room. You could probably get away without doing storyboards if you're REALLY good at pre-visualizing and explaining it.

Some people actually shoot entire SCENES (let alone ENTIRE scripts) on MiniDV before they film on Film so they can edit it together instead of just picture-frame-story-boards.

I dunno- I could be entirely off. I guess it all boils down to the director's discretion. I'd suggest learning all the steps and things required to make a film and then creating your own way of going about it.

 

[EddieLeonardo]

Money Shot - Set up "D", XCU... cue: when the actress says "Oh yes, this is the most wonderful pornographic movie I've ever been in... with my children"

"Yo, peeps, we're doing set-up "A" now", so everybody knows, ok, put all the camera gear and shit at the "A" corner of the square. Then they do shots 1,4,6 and 10 in that Set-up.

I have GOT to work with you one day...this is so funny. Your posts are as entertaining as they are informative.

 

[Spatula]

Your posts are as entertaining as they are informative.

I know information???

 

[barnaclelapse]

I'm assuming that would be in pre-production. Script is green-lit, casting and location scouting are started, and then while all the locations are set and actors sought, they probably do a bit of blocking (for important, key moments).. everything in regards to lighting is mostly planned out on set- the DOP tells the Grips where to put 'em, so the Director's shots look as good as possible, right?

As for shots, on big shoots, they usually plan out the shots beforehand so they can do everything in "set-ups"...

Like, draw a square, ok... that square is the room, or "set"... then put A, B, C, D in the corners... so it'd be like:

Shot 1,4,6,10 - Set-up "A"
Shots 2, 3, 5 - Set up "B"
Shots 7,8,9 - Set-up "C"
Money Shot - Set up "D", XCU... cue: when the actress says "Oh yes, this is the most wonderful pornographic movie I've ever been in... with my children"

So on the shoot, the AD or whoever would be like "Yo, peeps, we're doing set-up "A" now", so everybody knows, ok, put all the camera gear and shit at the "A" corner of the square. Then they do shots 1,4,6 and 10 in that Set-up.

After that, they go to "set-up B" and shoot the other shots. etc, etc,...

Knowing that, it makes sense to plan out the shots beforehand so you know what you need to get in each set-up, as opposed to running around with 5 tons of cameras and lights trying to figure things out while the overpaid actors eat your overpriced catering...

Of course, you can't really make a "set-up" before you have a location, so I'd assuming most storyboarding happens AFTER the script is locked and BEFORE the "Set-up List" is crafted.




Depends.

Could do it while writing the screenplay, or have someone else do it after you've written it, but before being sold.
Could sell the script and have the studio get a storyboard artist to do it.
Could do it the night before on a cock-tail napkin.

Personally, I only storyboard sequences where I want something VERY specific, or complicated. If it's just going to be shot "straight-up" (as opposed to "on the rocks") then you don't really need to spend an hour in MS Paint drawing boxes and stickmen.



Probably sold the script on spec or something, attached himself to the project as a director, got together with studio heads, contracted a story-board artist while wrangling the rest of the crew, cast and locations, and then probably had a decent "production bible" assembled before even meeting the lead role players.

but i'm just assuming. The wonderful thing about film is that there is KIND OF a process which you have to follow, but there's lots of wiggle-room. You could probably get away without doing storyboards if you're REALLY good at pre-visualizing and explaining it.

Some people actually shoot entire SCENES (let alone ENTIRE scripts) on MiniDV before they film on Film so they can edit it together instead of just picture-frame-story-boards.

I dunno- I could be entirely off. I guess it all boils down to the director's discretion. I'd suggest learning all the steps and things required to make a film and then creating your own way of going about it.

Wow.

This is just awesome.

Thank you so much for laying it out like this.

 

[MelonDome]

thanks a ton