V. ON THE DAY OF THE SHOOT (1)

 

Breakfast

30 minutes before official crew call, breakfast is served for the crew. This allows for the crew to start working on a full stomach and for the director, DP and 1^st AD (2^nd director in Russia) - and if necessary key crew members to go over the work of the day. It allows for a fast start at crew call instead of having the crew members running to get their coffee while the set is being prepared for the shoot.

 

Pre-lighting the set

After breakfast the gaffer and key grip can start the pre-light if it’s a small set (less than 90 minutes work) or switch on the lights that been placed the day before. If the set is already pre-lit, the blocking rehearsal can start right away. If no pre-light is needed the blocking rehearsal is first up on crew call.

In the event that no pre-light is needed, it means that the workload for gaffer, key grip and camera operators after blocking rehearsal is about 30 to 45 min. maximum after blocking rehearsal.

 

A pre-light means placing, rigging and securing lights that are not in the set but shine from outside the set into the set.

 

The most time consuming lights are the lights that need to be hung from ceilings and should be placed first. They require rigging, hiding cables and safety. Once those lights are in place, it’s safe for the rest of the crew to enter the set.

Lights that are on stands and are outside the set, shining through windows should be placed next.

Once the basic lighting – overhead lights and lights outside the set are in place a blocking rehearsal can be called, even when the pre-light is not entirely finished.

 

Blocking rehearsal

Before shooting the scene the 1^st AD calls the actors for blocking rehearsal.

The 1^st AD clears the crew who take the equipment from the set and demands to hold all work and TO BE SILENT.

1. The director explains to the actors where he or she wants to place / position the actors in the set.

2. The DP observes what the director wants to do and figures out the best way to shoot the scene.

3. The 1^st AD creates the space for the actors, Director and DP to do their work without any other crew or production member obstructing them. At the same time the 1^st AD observes what the director wants and figures out what each department needs to do in order to shoot the scene as effective and as fast as possible. Meaning the 1^st AD needs to know which are the shots and what will be seen in the frame and what is needed from each department.

4. The key crew: art director, sound mixer, gaffer, key grip and camera operator(s) follow, IN SILENCE the blocking rehearsal and don’t interfere by all means. It’s important for them to know what will happen in the scene. It’s the 1^st AD who calls the key crew to the set when a blocking rehearsal will start if they fail to show up.

5. The rest of the crew has time to do any necessary preparations for the scene OFF SET, IN SILENCE or take a snack or drink a coffee.

 

Next the actors roughly play the scene to allow the director, DP, art director and key crew to VISUALIZE what will happen in the scene.

 

During the blocking rehearsal, the actors give suggestions to the director what feels best for them to play the scene and the DP gives suggestions to the director of what looks best in frame.

It’s NOT the 1^st AD’s or producers duty to make suggestions to the director and DP of how to shoot the scene, it’s already complicated enough to figure it out with 2 people how to shoot the scene. 1^st AD facilitates the creative team and is not part of it.

 

A blocking rehearsal can take 5 to 15 minutes.

Near the end of the blocking rehearsal the 2^nd AC (assistant camera/ in Russia clapper girl) is asked to mark the positions of the actors.

 

After the blocking rehearsal the director and DP knows which shots are needed for the scene and in which order to shoot them, BLOCK SHOOTING. The actors have an idea about how the scene looks and what is expected from them and can think about it during hair and makeup.

 

BLOCK SHOOTING means shooting all the shots in one direction and then all the shots in the other direction. This requires a minimum of lighting adjustments and camera positions and allows to work fast.

 

WITHOUT doing a blocking rehearsal nobody can tell what is going to happen in the scene that the crew is about to shoot, not even the director, even if he thinks so.

 

THE ONLY EXCEPTION FOR NOT DOING A BLOCKING REHEARSAL IS WHEN DANGEROUS STUNTS ARE INVOLVED. USUALLY THE SHOTS ARE ALREADY PRE-DESIGNED / STORYBOARDED.

 

As soon as the 1^st AD notices that the blocking rehearsal is over, he or she will send the actors, if necessary to hair and make-up or to their holding area or trailer, or with the director to do a LINE REHEARSAL.

 

The line rehearsal

Sometimes the actors need to practice their lines or want to reformulate some of the lines or words in the script. Together with the director they work on the lines OFF SET, NOT ON SET, where the crew is working.

 

A blocking rehearsal is not the same as a Line rehearsal. Very often the line rehearsal happens during hair and make-up, or in their holding area or trailer. When the blocking rehearsal becomes the Line rehearsal the 1^st AD should step in and make the actors and directors aware of it, because it prevents the crew from setting up the shot and lights.