- So to recap
where we are in the process of our production is
I wrote a script, it was too expensive.
We had to go back, rewrite the script.
We broke that script down.
We found that it was within our budget.
Herman than created our production calendar
and we started a crew up.
In our search for crewing up,
we were able to find a first AD.
Thank you so much, Cary, we're really excited.
- Yay! I'm excited this sounds fun.
- And we were also able to pull in a favor
and get one of our StudioBinder and filmmakers here
to come on as our cinematographer.
- I understand that the budget is limited,
I've dealt with that.
So, what I can offer you guys is...
I can operate the camera myself,
so you save your camera operator. Okay.
You cut my rate to zero.
You don't pay anything for me to come on.
Since I liked the script,
and my objective is more to work something for my reel
and put that money that you originally would pay me
to get a better camera,
and three crew members. - Absolutely.
- I hope we can make something great together... - Yeah, absolutely.
- ... and I will take care of making the project look good.
- Great. - Well, thank you very much.
- Alright!
♪ ♪
- So Marvin made some requests
all of which were very reasonable.
He's waving most of any fee or anything like that
if we need equipment, you know,
we'll toss them some bugs here and there but generally,
he just wants it all to go to the project.
Specifically he wants it to buy him one or two crew
people for the day that are going to help him shoot.
Sounds like he's onboard
which is exciting.
So at this stage,
you're going to want to create a preliminary shot list.
So what is a shot list?
Well, a shot list is a list
of all the things you need to shoot on the day.
The document that has all of your creative goals and visual goals
laid out for you.
One of the things that you put on your shot list is all of your shot specs.
You'll describe your shot.
Then you talk about the shot size.
Angles that you might want to decide
whether you want to shoot from a high angle or a low angle.
Other things that go in there would be any camera movement.
It's something that you really should do on your own.
The cinematographer should probably do theirs
and then you should compare them.
So I'm doing my shot list right now.
One of the things we're going to try to do
is we're going to try to have obscured views.
So we're going to be like filming them
but from around a corner
so that it adds to that feeling of,
you know, this is a secret meeting.
F***ing thing, dude.
Jesus f***ing Christ.
The first step of your collaborative process with your cinematographer
is your shot list.
So, Dr.Bell enters and paces,
it's an over-the-shoulder two shot.
I've kind of wanted this to be on a gimbal, right?
The door is in frame behind in the background
as we move out from behind Billy's head
we see Dr. Bell landing in the room, right?
- Okay, so what we have right now we staying on one set up
from one angle.
You have to take under consideration
that we do need to change the entire lighting setup on the other side.
Otherwise, we would see the lights and...
- Now you need to start thinking about bucketing then into what we call setups
and a setup can be either a camera set up
like, you know, dolly tracks or
you know, a tripod for instance
or it can be a lighting setup.
So if you have multiple scenes taking place in the same room
throughout your script instead of moving locations
and shooting all in order,
which really want to do is light that side of the room
and shoot everything you need
that's going to be on that side of the room.
- Building a gimbal
it will cost us more time for each setup.
Gimbal also does require
a wireless follow focus.
We'll probably have to calculate an extra 200$
just for the wireless follow focus.
The dana dolly for $50.
Maybe a cheaper solution for a similar effect.
- You need to think strategically
if you want to get everything done
and if you want to get it all done correctly.
Because every set up you do
means they have to set up the lighting,
they have to move the camera.
They might have to put it on a dolly or on a tripod
and every time you do that
that is chipping away at your time
and your time on set is everything.
- While we shooting out the scene
the gaffer is not needed
that we double up with a grip
how we talk about he could build the dolly, the slider
in the room already.
We will work simultaneously
while we're shooting they're building the next set.
- Perfect. Okay.
Well, this is good stuff to consider.
- Put those shots in there
that you need to tell the story in your head.
And then once we go on the location scout,
we, of course, will revisit the shot list.
- So now that you've got your preliminary shot list done
you need to start thinking locations.
Let's talk about locations.
Now, I've been fortunate enough to work with some pretty big productions
where you get a location manager
and the pretty pictures fill your inbox
and you don't have a care in the world.
But I was also been fortunate
enough to work on some small bootstrap production
where I had to find my own locations.
But now we're living in a golden age
where companies like "Giggster" offer you amazing opportunities
for location scouting.
These are really useful tools,
especially for independent filmmakers because
we definitely don't have a budget to pay a location scout.
♪ ♪
You know, this is a perfect day for location scouting.
You know why? - Why is that?
- All of our location necessities are indoors.
♪ ♪
- So what was great about "Giggster" is they met us down there
with what they refer to as a location concierge.
- So this is the main room right here.
♪ ♪
They are super open about you guys moving anything around.
The biggest advantage for independent filmmakers is price.
You don't need to hire a location manager.
- Here we go.
- Here's production area.
- In fact, this area here might even work for that scene, right?
Like he brings her around the corner they land here.
- But we also know that sometimes you need a little bit more help.
That's why people like Alison
and our other agents were brought into the team
to actually set up scouts set of visits.
- Thank you so much.
- Yes. Thank you so much.
We're making progress.
There's a lot to work with.
I think that we've got at least one of our days figure it out.
You know now we have to go ahead
and start thinking about our other locations.
I think it's going to be a great location.
The pictures looked fantastic, but
let's just say the pictures can be deceiving.
So....
♪ ♪
You know, take whoever you can with you
when it comes to your crew and your team members
because they are going to look at different things, you know,
Marvin's going to be looking for places to hang lights.
- Will all this be blocked if we get it?
Okay.
That case would have to change those lights up there.
- I'm going to be looking at the actual space
and whether or not I think it works creatively.
- Is this dressible as a common room?
- It would be really pushing it.
It's a lot smaller, but it's okay.
When you're searching for stuff online,
you're never going to know, right?
It's the same as I'm sure using Tinder or anything else, you know,
you see a photo and you go,
oh looks great
and then you get there and it doesn't look great.
- Those two rooms are the biggest rooms you have in this facility?
- For film, yes.
- Okay.
- The thing that bums me out the most
is the fact that it's tiny.
- I mean there is, of course,
the possibility to shoot in certain locations there
and break it up to the second location.
So let's check out the other location
and see what we can grab there.
♪ ♪
- I guess now we're talking.
- Dude, this is sick.
- As good natural light falling in here,
which is great.
- The amount of space you actually get here is
I would say almost 10 times the size of what the fryer building has.
Theoretically, we could set the camera right there
and have him walk up
and then we cut to him at the door
it could be a different door.
- We can take those things out
and there are usually plays it's like rods to rig things on
so I can have quino's rigging on the door
so to get some bounce here.
- The dressing wouldn't take nearly as much.
It is a nursing home
which can double for a health clinic pretty quickly.
I mean this would be great.
- This location would perfectly suit our needs
but for 500 $, there's got to be a catch.
A few of the red flags, you might want to look out for
when your location scouting
the site reps.
Are they attentive?
- Hello *Unintelligible* Beverly Hills.
- Oh yes, uh... Brocka?
- Oh yeah, sorry...umm-- let me try to call-- *unintelligible*
Can you call me back in two minutes?
- I sure can, thank you so much. - Thank you.
- That was sketchy.
The producer hairs on the back of my neck are tingling a little bit.
The site rep never met us there.
She was on the phone saying she was going to meet us
and she never showed.
- Hi, sorry we missed your call.
Please leave a message...
- They're not communicating with us enough
and the fact that they're not communicating with us enough
concerns me.
- It's confirmed.
- I'm declaring it official
we have no location as of now.
- Our location dropped out.
They made a typo
and that in fact, it is 10 times the amount that they had originally said.
- It's 5,000, not 500.
- The amount they're saying now is ridiculous.
It's actually kind of laughable.
because for that amount of money you could get
an entire sound stage.
- I have a litany of worries.
So let's put our nose to the grindstone.
If we're going to find something, we gotta do it in next two days.
- This is Geneva.
- Hi, I was just calling to see what the availability
for your hospital set was.
Oh... those days are booked.
- Ok, well, I believe I have all the information I need,
so thanks so much.
- Ok, you're welcome. Bye. - Bye.
- I'm a little worried right now.
You know when you have setbacks like this,
you're just not sure if you can fit it all in time.
♪ ♪
So we've been searching all around calling people
and I happen to call a friend who worked at this one location
called Pamplona 89.
♪ ♪
Carol the owner he heard about our behind-the-scenes thing
and he was able to basically
work out a deal for us as long as we shouted him out.
So Pamplona, thank you to you.
- We rent the space for a seminars, workshops.
We do classes.
And then also we rent the space for film shoots.
- We also give the opportunity to come the night before to prep
so that you have a little bit extra hours,
or to come the day after to wrap up
because we understand perfectly that timing is very crucial.
- It's conducive for filmmakers.
It's got a lot of space for lights, dolly tracks.
There's space for staging, the crew and the gear.
It also creatively takes off a lot of the boxes.
And if we're smart about this we could get,
I'd say 75% of the film done at this place.
Now that we have location all taken care of,
now we get to move on to the casting and the actors.
I'm very excited about this.
So check out the next episode.
Hey everyone.
Do you have a great idea for a film or a television show?
Want someone to help you produce it?
We're looking for writers and directors for season 2.
So if you have a script that you want to direct
click the link in the description
and submit your project to StudioBinder today.
Thanks for watching and we'll see you in the next video.
♪ ♪