Sometimes you have to fit more shots into your shotlist.

The other day I wrote about doing your prep for each shoot. The most important thing you’ll create from that prep is your shot list. It will reflect most of the choices you make about how to handle the production—sort of like your cheat sheet for the day’s shoot.

Each shot listed on your shot list is something you “owe.” I’m not sure who you owe it to—the production, the editor, yourself—but by the end of the day, you better have them on tape or film. (Often I’ll list shots that I’d like to have, time-permitting, but can live without if the going gets rough. Knowing the difference is another important function of prepping your shoot.)

But all of that comes out of prep done at your desk or the kitchen table before you step onto the set. When you’re there, “on the day” a lot of other ideas will occur to you—maybe an actor brings in a nice piece of business you’d like to work in, or there’s a great background for a certain moment, or perhaps you just see a new way to pull things together. It’s likely that you’re going to owe some new shots. (continue reading…)

You can't use the tools if you didn't prep them.

I’m prepping for two video shoots in this week.  (These days, that’s pretty noteworthy in and of itself…but that’s not what I’m writing about.)  One of the shoots I’m prepping has a paid “prep day” one doesn’t.  But the reality is that I’ll probably put similar amounts of prep time into each project.  That’s the deal with directing a film or video production: Sometimes you get paid to prep, sometimes you don’t, but either way you have to do it.  You can’t show up on set without a plan.  That just ain’t gonna go well.  ”I didn’t have a paid prep day,” isn’t much of an excuse if everyone’s waiting around while you’re floundering on set. (continue reading…)