- Always use an appropriate microphone to record sound. For example, do not use a lapel microphone to record ambience sound; but always do use appropriate lapel microphones for interviews.
- Maintain appropriate microphone distance. Position microphones in the direction of the sound to capture good sound.
- Use directional microphones for vox-populi when shooting outdoors.
- Have enough microphone cable lengths. Have enough number of cables too.
- Check for batteries if the microphone uses one.
- Always carry microphones in their cases or pouches. Protect them from dust and heat.
- Switch off fans and air-conditioners during interviews.
- Always turn off any music in the background or shift the location to get better sound.
- Use a wind shield to prevent wind noise when shooting outdoors.
- Turn off music in background.
- Always use a headphone while recording.
- Always record ambience sound when shooting visuals. They can be eliminated during editing if not needed.
Blocking, Rehearsing, and Shooting
Because we would have done a detailed recce of the location before we actually begin shooting, we would have a fair idea of where to place the camera to get the best possible angle. However, having a shooting plan helps us in blocking and rehearsing our shots, particularly when we are shooting fiction. If we are shooting non-fiction, we will of course not have the necessity to rehearse our shots.
Some aspects to consider before shooting:
- What and where am I shooting?
- What camera positions and heights will give me the best shots?
- What additional shots will I require to provide a context?
- How do I break up the scene into different shots?
- What kind of sound is required during the scene?
- What lighting is required during the scene?
We need to be physically and mentally present on the set at the time of shooting. We may not want any subjects in the background while shooting. Even a fast entry and exit of a unwanted person in the frame, however hazy, may not suit our shot objective. Therefore, even if the cameraperson has not observed it, it becomes the producer's responsibility to call for a retake. Retakes are important to get the right shot, but too many retakes means that the crew is not alert. Also, too many retakes can exhaust all the members on the set Judge the need for a retake and only then order for it.
It is natural for every beginner on video production to dream of making a great film. After all, one has seen so many films on the big and the small screens and they all seem very easy to make. There is nothing wrong in dreaming big, but it makes sense to also be realistic about our limitations. Even the soap that was hooked off television just five episodes after it was made demanded tremendous amount of work, may be weeks of various kinds of inputs. What perhaps went wrong was that the producer's 'idea' could not be translated well onto the screen, or that there was a problem with the idea itself. Well, if the idea was good but could not be executed properly, the problem must have been with the choice of performers and technicians. However, if the idea itself was bad, one can only blame the producer/director who had no business producing that ill-fated soap at all.
When you start off on your own, you would do well to first analyze the strengths and weaknesses in terms of the story, the equipment, the locations, the performers, and, most importantly, the budget. You may plan a great crane-up shot but may not be able to afford a crane on rent! Ask for a second or even a third opinion on the idea and discuss your execution plans with experienced producers.
To begin with, keep the idea simple and short, may be 2-5 minutes. As you go about planning the production, you will realize how much coordination, work, and money is involved! It is just not enough to have an idea. Your idea must be a 'story' and an interesting one at that, with a fabulous beginning, an interesting middle, and a bang of an end. Therefore, do not start off with one line. For example, do not tell yourself you will make a film on a musician. That is not just enough. You cannot make the video. Develop a strong story on the musician. Check if all the elements of the story are in place. Plan it small. For example, do not plan to show the musician performing at the Royal Philharmonic Orchestra in London or scuba diving in the Indian Ocean!
Do not leave anything to chance. Do not tell yourself you can manage the camera placements on the locations that your production manager has checked out. Write out the entire story and do a location recce before you actually take the entire team there. Do not plan unattainable locations in the first place. If you do not do your storyboard or at least the shot break up (we will discuss how this is to be done a little later), you will only end up wasting everybody's time, frustrating them, and paying equipment rentals for doing very little.
Plan and fix shooting schedules well ahead of time. More importantly, inform all members of the production unit about when they are supposed to turn up or take a holiday. Work everything out on paper and distribute copies to all the members.
On location, once the actors (in this case, mostly amateurs) are ready with makeup, you brief them about the scene and the shots therein. Try to be specific about what your expectations are from them. Do not give them vague instructions. You would be lucky enough if they act out their parts well. You will also need extraordinary patience to deal with amateurs (sometimes it is the same with some professionals since they think they know better than you!).
After briefing your actors, 'block' your shots with the camera at least once. Simply put, blocking means viewing the shot with the actors' movements, the camera/lens movements, etc. without actually recording it. Blocking helps in avoiding mistakes like bad headroom’s, missing out on important movements within the frame, the composition, etc. A single blocking may be enough for a simple shot. However, complex and developing shots will require more practice and rehearsals, which in turn would mean more number of blockings. If you cannot do it well during the shoot, you cannot do any better on the edit suite. So do not assume that you can correct the on-location mistakes on the edit suite.
Record every bit of dialogue on location on tape. You will need it for lip sync dubbing or simply dubbing. Dubbing is that part of the post-production phase in which actors repeat the dialogues shot on location in a studio environment. Keeping the location sound as reference, the actor who has played the character, or a dubbing artiste, repeats the same dialogue in sync with the lip movements of the character on screen. In short, the dubbed dialogue replaces the original dialogue recorded on location. The dubbing track is then inserted onto the timeline and the location dialogue removed. Music and sound effects are then added as other tracks.
Remember to give credit to each member of the production team-right from the tea-boy and the cab driver to yourself, the director of the film.
Last but not the least, thank everybody on the sets at the end of the day. After all, they have all put in a day's hard work.
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