Step III Intro

Producing and directing are among the most terrifying and exhilarating experiences you can have. During production, you will have at least one moment when you'll want to quit and go home. Often, it's about a third of the way through, when there's still a lot to be done and you've run out of clean clothes. It's hard to keep your perspective, but you must.

The chapters that follow address how to stay focused on the work that needs to be done so you can make sure that you get what you need.

Chapter 17, "Executing the Plan" covers the issues specific to making your vision come to life. Chapter 18, "Making Video Digital" is a detailed discussion of digital video, while Chapter 19, "The DV Camera" covers the most common camera controls, accessories, and techniques.

Chapter 20, "Lighting for DV" details common lighting equipment while focusing on the requirements for lighting an image for DV formats. Chapter 21, "Lighting Techniques" covers common problems and solutions, and offers helpful suggestions and trick to get the most from even the smallest light kits.

Chapter 22, "Rigging" covers common grip and gaffer equipment to help you get the results you want safely, quickly, and inexpensively. Chapter 23, "Capturing the Sound" details the requirements for location audio for DV, including equipment, techniques and tips. Chapter 24, "Renting Gear" explains some of the intricacies and common practices of working with a rental house.

Chapter 25, "Props, Sets, and Set Dressing" and Chapter 26, "Hair, Makeup, and Wardrobe" offer procedures for creating, using, and managing these elements of your show. Chapter 27, "Explosions, Gunplay, and Fistfights: When to Call in the Experts" details common stunts and special effects. While a lot of them can be done by people with no experience, sometimes you need to hire to get the best result safely.

The day before your first shoot day, make sure

• All equipment has been tested.
• All equipment is checked, packed, and pre-rigged on the set, at the location, or loaded into the production vehicle.
• All tape stock is purchased.
• Props, wardrobe, or other items have been rented or picked up.
• The first set is dressed.
• All members of the ensemble know their call times, which scenes will be shot, and precise directions to the set.
• Locations and craft services are locked.
• All contracts for production personnel have been executed.
• All paperwork, including production script, storyboards, phone lists, and so on, is packed and within reach.
• To get some sleep.

A lot of volunteers will show up on your first day of production. Excited about being in the glamorous world of show business, some of them will swarm around your set, eating all the donuts. Usually they hang out around the camera, trying very hard to look like camera operators, gaffers, and grips. Rarely do they help the location audio crew or offer to write a press release.

As the day goes on and the donuts disappear, these people start to evaporate.

Good.

Less is more.