I know what is done in pre-production (storyboards, script breakdowns, shot lists, scouting), but I'd like to know about the actual process, by which I mean who does what and in what order.
What is the pre-production process?
- Thread starter geniusvisionary
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At the first preproduction meeting the director tells the department heads "This is what I want" and they all get to work.
The process is quite intensive, even for a small production. Way too much for anyone in a forum to type out a 50 to 500 page response for you.
I'm going to suggest getting a book called "Running The Show" It's for First AD's who's primary job is organizing and scheduling the shoot from Pre-Production through to the end of Production.
While the book won't teach you everything in Pre-Production for every department (no book will) it'll give you a very wide overview of the process. At that point, you can come back and ask more specific questions.
Since you didn't mention the perspective you're looking from, I may be sending you in the wrong direction. For instance, if your intention is to be a producer involved with studio films, while that process still holds, it's only part of the equation.
I'm going to suggest getting a book called "Running The Show" It's for First AD's who's primary job is organizing and scheduling the shoot from Pre-Production through to the end of Production.
While the book won't teach you everything in Pre-Production for every department (no book will) it'll give you a very wide overview of the process. At that point, you can come back and ask more specific questions.
Since you didn't mention the perspective you're looking from, I may be sending you in the wrong direction. For instance, if your intention is to be a producer involved with studio films, while that process still holds, it's only part of the equation.
My intention is to be a director, producer, and possibly a writer. I was looking for more of a step-by-step process detailing what happens in pre-production for a typical film, and, as I said before, who does what (what the director does, what the producer does, what the assistant director does, and the general workflow, though it doesn't need to be really detailed, as long as it spells out the general workflow during pre-production.
What kind of producer?
This forum isn't exactly the best place to find information and ask questions about producers. There aren't a lot of experienced producers here.
If you're talking about producing at the short film level, that's an entirely different kettle of fish.
lol, what did your last slave die from?
Either that'll make sense or you just don't understand how difficult a task you're asking for.
How did that book, Running The Show go?
What happens really depends on the production, what's required, the budget levels, what resources are available and so on.... not to mention, what kind of film you're producing. What you need to do is get up to the point where you can start asking appropriate questions. Film making isn't exactly paint by numbers.
There's a package that is (If I remember right) near on 80 pages, of which about a quarter of it is simply checklists upon checklists of what the AD has to do.
But it also depends on what level you're talking. I've probably put my foot in my mouth assuming you're looking to learn at the professional level. If you're looking at the learning, short film level, there are plenty of posts on the forums that explains what you need to do to stumble through the process to get you on the path to starting to learn what you need to do.
Hmm, I'm not sure you do know what is done in pre-production because you've missed out the first and most important step! The first step is the pre-visualisation, the imagining of what the finished film is actually going to be. This can be done by the director alone or commonly at the higher commercial level, is done by the director in consultation with a small team of department heads. This pre-visualisation eventually leads to the identification of all the materials which will be required in post-production to actually make the film and therefore largely defines the order of what is to follow in pre-prod, which IME is usually as much of a evolutionary process of parallel modification and refinement as it is a serial order of one task being completed and then the next started. On top of this there is the personal style/methodology of the director and producer, plus the fact that different types/genres of film may require different workflows and/or order of workflows.
In other words, as Sweetie and others have said or implied, there is no simple answer or rather a simple answer would have to be so vague as to be almost useless in many/most practical situations.
G
http://www.lavideofilmmaker.com/filmmaking/movie-making.html#preproduction
I'm not sure if pre-visualizations are done for live action films. In the link I attached, it says nothing about pre-visualization. I thought those were for animated films.
I'm not sure if pre-visualizations are done for live action films. In the link I attached, it says nothing about pre-visualization. I thought those were for animated films.
http://explodingrabbit.com/resources/how-to-make-a-movie-or-short-film.67/
It doesn't say anything about pre-visualization here, either.
It doesn't say anything about pre-visualization here, either.
Here's what I think the pre-production process is, correct me if I'm wrong.
1. The producer reads the script
2. The producer makes a script breakdown, which is a list of everything needed for the movie (props, costumes, sets, characters, effects, etc.)
3. The producer hires the crew.
4. The director is hired, and he reads the script. He makes storyboards, or directs an artist in the making of storyboards.
5. The director makes a shot list, and this is sent, along with the storyboards, to the director of photography, who decides what cameras and lights he is going to use. He sends this list off to the producer.
6. The producer sends the script breakdown off to the director, who makes, finds, or directs the making of concept art (pictures of how he wants everything to look) and sends it out to the production designer, who makes all the sets and costumes and stuff
7. Sets and costumes and stuff get made
8. The producer finds, and the director approves of, locations
9. The assistant director takes the shot list, and makes a shooting schedule.
10. The director hires the cast, and shooting starts.
1. The producer reads the script
2. The producer makes a script breakdown, which is a list of everything needed for the movie (props, costumes, sets, characters, effects, etc.)
3. The producer hires the crew.
4. The director is hired, and he reads the script. He makes storyboards, or directs an artist in the making of storyboards.
5. The director makes a shot list, and this is sent, along with the storyboards, to the director of photography, who decides what cameras and lights he is going to use. He sends this list off to the producer.
6. The producer sends the script breakdown off to the director, who makes, finds, or directs the making of concept art (pictures of how he wants everything to look) and sends it out to the production designer, who makes all the sets and costumes and stuff
7. Sets and costumes and stuff get made
8. The producer finds, and the director approves of, locations
9. The assistant director takes the shot list, and makes a shooting schedule.
10. The director hires the cast, and shooting starts.
It can depend on the team, what the production is, the style of the director/dop/producer/studio/other roles.
The more complicated the shoot, the more special effects the production has, the more elements that need to be brought together, the wiser it is to use PreVis. It can help with particular scenes that are expensive to shoot multiple times. There are other reasons for PreVis. For instance, it can really help an inexperienced director or solve a problem visually so dept heads can be on the same page for complex situations. It can even be used during development stage of a production to help obtain finance to lesser savvy investors.
This is more often done prior to pre production, while it's still in development. Productions often don't get into pre production if at least at a basic level, this isn't already done. Often the first draft of the story boards too, though there isn't really much harm in the story boards being done in PreProd IMO.
As for #4, depending on your production, the director is more often than not a key part of the package, on top of key cast and on ultra low budget productions, key crew.
It's a little more complicated than that in practice. There are key people within the production department that the producer often chooses, for instance, the production manager, accountant. The other key dept heads, especially the creative heads are often made in consultation with the director. The rest are usually in consultation between the production manager and the dept heads. You can do it any way you feel is best I suppose, though the producer doing the task removes some of the benefits the production will gain from an experienced negotiator within the industry.
This is one way it can happen, though there are a few issues with this. More often than not, the director and the DOP work together to come up with some sort of shot list. Whether the DOP decides on the lights depends on the relationship with the gaffer. Sending documents like this to the producer would usually be done through the First AD. That assumes these documents even reach the producer. The producer doesn't really need the shot list.
The director will do his own break down, as will most department heads.
This is all a complete mess and is likely to kill your production, doubly so if this is also the order you are completing your work. For instance, how do you know what sets you need to build in 7 when you're finding locations in 8?
In regards to 9, the schedule is more a function of budget. There are very few directors in the world that are allowed to continue shooting as long as they want.
Even in the most basic of versions of a check list, there are a bunch of things that are missing, in an odd order and there seems to be a bunch of people who are missing. I'm not sure if they're in your head to whether you're consulting them or not.
Hey, your list can work at the amateur level. It'll be somewhat chaotic and in that order, some key positions are pretty much wasted. For instance, you're relegating the First AD to paperwork/administrative work rather than using their experience for the benefit of the production during pre-production. To the director, they really are your right hand man.
I'm a complete newbie to filmmaking, and know basically nothing about it, and have never really worked on a movie, so that's why I'm asking this. I just have heard a lot of conflicting information online about what goes on in pre-production, and in what order, and I'm not sure what half of the people on a film crew even do.
This is a pretty good list of the process. You're doing well.
Hello, Geniusvisionary,
I'm also new, and, as I see it, you've got a good list. But, somewhere down the line, the script should be reviewed by a script doctor, because the essence of writing is re-writing, and the script doctor often improves on the story line.
I'm also new, and, as I see it, you've got a good list. But, somewhere down the line, the script should be reviewed by a script doctor, because the essence of writing is re-writing, and the script doctor often improves on the story line.
One independent producer said that there is a pre-pre-production stage where you determine what all your resources are and what you are capable of before you even determine what project you will tackle. Resources can be friends with equipment to locations you can get. Most independents starting out do not have the finances to afford what major production can. While many of your steps are legitimate for bigger budgets, they will be combined or modified at the smaller ones.
Ok, you failed to include that information earlier. Most of what I've been telling related more to productions with a decent budget. You're still in the learning step. You're at the part where most people wear multiple hats. If that is the case for you, you're going to need to learn a mix of technical, artistic and managerial skills, especially if you're not loaded with excess cash to pay others for these skills.
In an effort to help steepen your learning curve, you're going to have to do one of two things (preferably both).
1). Get experience and learn.
2). Learn and get experience.
I'm going to suggest that you get your ass on to a few student films. Work your ass off if you have to, but observe as much as you can. The Clapper is probably your best bet. It's a great combination of being in the thick of the action while there aren't a lot of learning required to do the job.
That list of yours is fairly good for amateur productions. I'd probably simplify it a lot since you're looking to learn, more than create a masterpiece this early.
I want to learn all I can about filmmaking so I'll know everything I need to know when I start a production company and pour all my money into writing, directing, and producing a full-length feature film.
I'm going to suggest one thing. Don't pour all your money into a film until you can answer why that's a bad idea. At that point, then decide whether you still want to do it. You may still decide to invest but it's best to first know why that's a bad idea. What checks and balances this decision eliminates.
Get in there and learn. Most importantly, learn to enjoy film making.