Technical breakdown of scripts prior to shooting.

[MarcusHoffman]

Hi everyone,

 

I'm currently working on pre-preduction on a few projects for my portfolio. Part of the requirement for my class is to take the scripts I'm shooting and break them down scene by scene and talk about certain cinematic aspects of the scene (Properties of light, composition, etc).

 

My question is how detailed should I be on something like this? Is this type of writing common for DP's prior to shooting as asked by the director? The reason for my posting this question is I'm a little confused on what detail I'm needing to go into on a document such as this. The shot lists have not been made, so I would think lens discussions at this point would not merit the time spent. Or would it?

 

I apologize for the vagueness of this question; I'm just looking for a little clarification.

 

Thanks,

Marcus

Edited December 8, 2004 by MarcusHoffman

[J. Lamar King IMPOSTOR]

Since no one else is answering, I'll take a go at it. They can be as detailed as you want. The more complex a setup the more detail you might write down. Especially if you are handing off instructions for a pre-rig or something.

 

I write my notes right on the script while discussing shots and general blocking with the director in pre-production. I draw an arrow at the beginning of a scene down the page until the shot changes, like on a piece of important dialog or when the director feels he wants to jump to a CU or something.

 

On that arrow I make a note like "Medium 2-shot, push in to isolate 'Marvin.'" or whatever. Then if we do singles I'll draw a second arrow down the page that represents all the dialog shot as singles etc.

 

Then, if I feel the need I will insert a sheet into my script with specific lighting notes for the scenes listed on the previous script page. There I will write down motivation for the lighting, quality of the light, lighting units, filters, processing notes etc. as needed. I might even draw a lighting diagram or include a panel from the storyboard. I might write emotional notes like, "soft, warm, gentle, romance, evil, strong, menace, loose frame, isolate" or whatever. If I don't need a sheet for a specific scene, I always have a master but general plan for each location then work out particulars when we're there.

 

The one thing I usually never do is anticipate actual lenses, I do that on set with the director. That's when you turn the concept into a reality. The lens approach is dictated by the shot list. We would have discussed if the director likes to be on the wide-angle all the time or has a more classical approach. So when you're on set, if you want wide-angles you start lining up for a that. But, on some shoots you may need to be more precise in pre-production for the benefit of other departments.

[Leon Rodriguez]

I'll chime in. Yes, What J. said sounds like what I do too. Also, you might want to list which shots happen from what camera position. Like if you have a scene and you've decided that you have key frames for that scene at position A, position B, and position C is a Steadicam move from here to there. List everything to be shot from each position so that once you're set up you can get everything from that point in that particular scene. This eliminates the danger of having to come back and reset lighting to match.

 

And list cutaways (his hand on the gun) and Atmosphere shots (faucet dripping macro) or a long shot of the sunset including the location bldg. List your coverage shots too. This insures you will get your cutaways and atmosphere shots before changing any lights. Once you strike a lighting setup you want to be sure you have that scene totally covered.

 

I also always make of note of what emotion the director wants to leave the audience with for every scene. It may or may not influence the shot but your instincts won't let the shot contradict that emotion if you're aware of it. Do this enough and over a number of scenes I notice that the overall set will tend to get this "emotional awareness" just from being conscience of it. Osmosis or something. It's a great feeling when everyone is making the same movie. You're an influence to that process.

 

If there are storyboards, they will dictate or at least suggest which lenses. If you see a conflict between the boards and where the scene is going, get with the director and make sure he's aware of that departure. Over time you will have a sense of what license you're allowed.

 

If there are things that are supposed to be in the frame along with the principle subject, definitely take the time to write that down. "Show clock at 10:15 a.m.", or "The portrait of the mysterious man is on the wall along with the family portraits". Look for these Art Department collaborations.

[MarcusHoffman]

Thanks guys, that's helpful information. Would either of you be willing to give me some feeback on what I end up writing off the forum?

 

Thanks,

Marcus

[Bob Hayes]

Although your professor wants you to ?Take Notes on the Script? what you are really being asked to do is to prepare for the film as a DP. You want to achieve several things by doing this.

 

First technically you need to know what the film requires. Are there big night scenes? There might be a huge fire gag at the end of the film. You are expected to be fairly well prepared early into production to discuss technical challenges and solutions with both the Director and the Production Staff.

 

Second you need to know dramatically what the film is about. So you can discuss in dramatic terms the film. What is the theme and mood of the film? Who are the characters? Where do they live?

 

Thirdly by preparing you can bring a strong creative vision to the film. How do you want the film to look and feel? Do you see it as all hand held or do you see it as a Steadicam film. The more creative ideas you start to germinate the better you will be prepared to support the director. Now you may feel it should look like ?Barry Lyndon? and the director may say he wants ?21 Grams? but at least you have an opinion. I highly recommend ?The Visual Story? by Bruce Block. This book gives an in depth description of the many visual elements at the DP?s disposal.

 

With regards how I prepare for a film. I don?t write my notes on the script because as production moves forward different colored pages start appearing and your notes will be on an old copy of the script. Instead, I create a page for every important scene of the film. . Here are some of the things I record.

 

. What the beats are of the scene. What is it about? It is easy as a DP to miss what the drama is.

. I make a note of the first time we meet a character in the film.

. How important the scene is in the context of the film. Although all the scenes seem important some of them are hugely important to the success of the film.

. I make special note of difficult scenes. It may only read as an 1/8th of a page but it can take days.

. Are there effects like rain, lightning, snow etc? How about lighting gags?

. I make sure I am aware of what key sets look like. Is Jack?s apartment hip modern and cold? Or is it old fashion and cluttered. When you start meeting with departments it?s better to say ?Wow I pictured it a different way.? than ?I never gave it much thought.?

. How I want the scene to look. Sometimes with references to other films, painting, photos. If I can I will include samples in my notes. Maybe I see the Bad guy?s world as monochromatic. Maybe I feel a French New Wave look would really charge the film.

 

Many of these decisions will ultimately be made by the director but a good DP brings more to the table that just technical skill. The initial steps come from your early reading of the script.