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Location hunting
The next thing to do is a location hunt or location survey-a recce. Some . directors prefer to do a recce before the actual script or storyboarding is done. This is more relevant when we are shooting a documentary because the objective is to shoot on real locations. In other cases like fiction, the director, accompanied by the production manager and the cinematographer, hunts for appropriate locations. This may require extensive travelling through various modes of transport. It is useful to make notes on the mode of transport to each location. Once finalized, the location has to be studied properly before the shooting day is fixed.
It also makes sense to draw a map showing details of the location. Such a map is called a location sketch. The location sketch may include the location of buildings, roads, etc. Having a location sketch helps in getting a fair idea of the camera positions at different points of time in the day. Deciding well ahead on what position and angle to shoot at what time of the day solves a major part of the problem during the actual shoot.
Make notes on important information like lighting and audio requirements. Other checkouts like availability of power, the acoustics of the room-for instance, whether there are reflective walls or traffic noise from the nearby road-and potential lighting problems also need to be made when preparing the location sketch.
Budgeting
It is the producer's responsibility to figure out the cost of producing a video. She should have a knowledge of the equipment rentals, wages of various production personnel, and transport costs on a kilometre basis. Budgeting for a video becomes easy when the exact requirements are known. This helps in dividing the budget for the pre-production, production, and post-production stages of the video.
A typical budget sheet for a video production will look like the one in Exhibit 4.3, though the items under the budget detail column will vary from project to project. In most cases, a good non-linear post-production facility should take care of special effects and even complex graphics.
More often than not, the client will ask for a summary of costs to get an overall idea of the cost of production. Therefore, it also makes sense to attach a budget summary along with the detailed budget. The specifications column in the budget summary will mention what amount is to be released as an advance. This depends on the agreement between the director and the client. A typical budget summary will look like the one shown in Exhibit 4.4.
When preparing the budget it is best to be realistic. Underestimating our costs just to win the contract is likely to land us in financial trouble. On the other hand, the client will easily be able to see through our over budgeting, and we may not win the project at all. The thumb rule is to show about 10 per cent more than our actual costs.
Requisitioning facilities
We need to be clear about the kind of equipment and accessories we need for the production. Even a small missing cable can land us in an embarrassing situation and result in raising the costs of production. We should think well and make a complete list of camera, microphones, lights and stands, filters, cables and connectors, and tapes that we would need. The list must be thorough and complete in all respects, mentioning specifications where required, before we book the equipment. A typical facilities request will look like the one in Exhibit 4.5. We should also have a checklist with us to make sure that we pack up all equipment before we leave a location for the next one or even pack up for the day. Remember, every minute is expensive.
Procuring permits
Unless it is an ENG where we have been invited to cover a media conference or have gone to cover a news event, most single-camera productions will require some shooting permits. While permissions are the responsibility of the production manager, the producer would do well to ensure that all permits are in place before the crew lands up at the location. We may want to use our contacts to secure oral permission or even apply formally for a location permit. The authority in charge of the location will sign a form permitting us to shoot at a location. Some locations may be available. For a charge; so that must go in the budget. A simple request form will have the name of the production company, the location requirement, the duration of requirement, and a request to lend out the location for a particular production need. It is always better to have request forms signed by the concerned authority well in advance.
Shooting schedule
A shooting schedule is like a class time-table. It shows what we will be shooting on a given day. While it is important that we shoot to meet deadlines and shoot economically, it is equally important not to fit in too much ~'. in a day's shoot. Cramming in too much will only result in tension on the sets. On the other hand, scheduling too little might increase production costs. The idea is to achieve a balance between the two. While drawing up the schedule, we must determine the time we might have to shoot at a location and allow at least 10 per cent more time. Scheduling a shoot optimizes time and extracts the best from everyone on the set. Copies of the shooting schedule must be distributed to all the production personnel. The production assistant alerts the team when it is time to move on.
Briefing the crew
A production meeting a couple of days before the shoot is crucial. Most of the production crew members, except the production manager, the assistant director, and the production assistant, and in some cases the cinematographer, will join us only on the days of the shoot. The production meeting is to brief them about the production plan. This meeting is important since all the crew members come to know of the shooting schedule and the entire production plan. It should be made sure that every member of the production team knows his or her roles and responsibilities. This production meeting is also to ensure that nothing is left to chance. Therefore, suggestions should be invited from crew members and planning must be meticulous. The producer/director must have the telephone numbers of all the members of the crew and, in turn, be accessible to them too.
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