Should I create my shotlist with my DP?

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This probably belongs on a different forum since the shotlist is not about screenwriting.

If you're the director, I would suggest you do the shotlist. When I read through a script, I have shots form in my mind and make notations. Then I go back and break them out on a separate spreadsheet. I would then run that by the DP and AD to get feedback and make sure we set up lighting and angles properly. Sometimes that is worked out in the storyboard process. In all cases, the director needs to take the lead, I feel.

Anyway, you might refer this to another forum where the DPs hang out.
 
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I still see it as a screenplay because I would be going through the script and adding shot numbers etc but you're right, it's passed the script phase.

Where do the DP's hang out then?

By the way FantasySciFi have we spoke before about Neo, Trinity and the Matrix?? Have vague memory...
 
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Technically you will not alter the screenplay when you put together
a shot list. The screenplay stays exactly the same - you add shot
numbers to your shot list. But that's just a technicality - if you feel
the way a director works with the DP is part of the screenwriting
process there is no reason you need to alter that belief.

I write and direct. I have found there is not a "best" method. I have
done a shot list and handed it to the DP. I have also worked closely
with the DP on the shot list. Both have worked. I, personally, prefer
to put together a shot list with the DP. I love the collaboration.

I guess the "best" method is to ask the DP you will be working with.
If you want to put together a shot list before you bring on a DP then
the answer is clear - you do the shot list without the DP. Maybe when
you bring one on they will have suggestions after seeing your shot list.
 
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dr stilly said:
I still see it as a screenplay because I would be going through the script and adding shot numbers etc but you're right, it's passed the script phase.

Where do the DP's hang out then?
Pre-Production, Cinematography & Lighting, On The Set are likely suspects

By the way FantasySciFi have we spoke before about Neo, Trinity and the Matrix?? Have vague memory...
We may have. I confess, I don't recall all the conversations I exchange.
Click to expand...

I can see what you meant. The shotlist is different from the spec(ulative) script [initial] and the shooting script [with the included breakout].

Spec Script:
Code: 
INT.  TOM'S CUBICLE - DAY
Tom sits at his desk staring at his computer.  He makes a few
furtive attempts to answer the email in front of him.  He sits
back when

Mary stands at the entrance to his cubicle and clears her throat.

Tom jumps.

Shooting Script:
Code: 
10   INT. TOM'S CUBICLE - DAY                                    10

10A  DOLLY IN through cubicle opening to 

10B  MS of Tom
        Tom sits at his desk staring at the computer.

10C  OS of Tom
         Tom makes a few furtive attempts to type

10D  CU of computer screen - display email from Anne

10E  HIGH MS looking down on Tom over wall
        Mary (O.C.) clears her throat.

10F  2P with  Tom in fg and Mary in bg
        Tom jumps as Mary stands at the threshold.

10G  MLS 2P with Tom and Mary
        Tom hits the keypad and swivels about.

Shotlist:
Code: 
SCENE   SHOT #      TYPE      MOVEMENT         DESCR                 ACTOR        PROP
10         1          MS      dolly in     est. shot of cubicle                                       
10         2          MS                   Tom at computer            Tom           computer
10         3          OS                   OS of Tom at computer      Tom           computer   
10         4          CU                   Email from Anne                          computer
10         5          MS      high angle   OS of Tom from entry wall  Tom           computer
10         6          2P      low angle    Tom (fg) lower, Mary (bg)  Tom, Mary
10         7          MLS     high angle   side view of Tom & Mary    Tom, Mary

Styles vary and formatting is inadequate but the beasts are different. Some writer/directors will go and rewrite the script to a shooting script. Others will simply make the shotlist directly from the spec script itself. Others, like the Coen Brothers, have an intermediate spec/shooting script style.

For me, the shotlist is not a script. It's a production tool. The Scene and Shot # are what end up on the clapperboard. I can understand your question better since you're talking about making a shooting script. I'd still say the shooting script is a collaboration between the writer and the director--what tells the story. The shotlist is a collaboration between the director and the DP--how the story is captured on the screen.

I agree with Directorik that there is no right way. And the best thing is to speak with your DP. My personal leaning is that since the director is an interpreter of the story, s/he needs to have a clear picture of what they want to capture. The DP can then work with them to make that happen. And a talented DP will give good advice about how to make it work best or alternatives when there are problems. Movies are team efforts. Good luck on your project.
 
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I would also advise you to go through your shooting script with your production sound mixer at the earliest possible opportunity. S/He will be able to spot potential difficulties and give advice, with this advice you can choose to hire additional sound equipment which may solve the problem, create more accurate scheduling, make notes on the shot list so the DP/Cameraman can help get you better sound or even change the shot itself. The point is that at this early stage you have a much wider range of options for solving potential problems. The alternative is that during production you face far more unexpected surprises, far fewer options to solve the problems and compromised sound quality.

Plan well and work smart! So many films are compromised before the Director even shouts "Action" for the first time.

G
 
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