48 hour film shot list?

[Victor Nhat Nguyen]

I was camera/production assistant on a 48 hour film contest 2 weeks ago. We were using a 5d and for sound we have h4 and ntg2. What my director did that I disagree with was that he shoot each scene continuously with its own sound, then switch angle and shoot the whole scene over again, Then switch angle and shoot the whole scene over one last time. Now the problem with that is going to be in post production. Our final movies have sound problem all over the place because the actor didn't gave pauses. If I was directing then I would have shot it exactly how I imagine the cut would take place in post. What do you guys think and how do you guys shoot?

 

[Noel Evans]

Theres an argument for both sides of the coin in general terms, however if I were shooting a 48 HR short I would shoot what I need and not shoot every camera angle in every scene for the entirety of the scene. I would def. have over laps.

 

[Victor Nhat Nguyen]

so Noel, you would prefer shooting for edit with really detail shot list? ?

 

[gonzo_entertainment]

I usually do what he did. Might I do it a little different for a 48 hour film, maybe, do I do every shot that way every time, no. However, the "standard" way to shoot coverage is to run the entire scene from each angle. That gives you flexibility in the edit rather than being locked in to only one possible edit. The actors should have been directed to not cross lines.

 

[Victor Nhat Nguyen]

I usually do what he did. Might I do it a little different for a 48 hour film, maybe, do I do every shot that way every time, no. However, the "standard" way to shoot coverage is to run the entire scene from each angle. That gives you flexibility in the edit rather than being locked in to only one possible edit. The actors should have been directed to not cross lines.

So you would prefer to run the entire scene but not going to let the actor overlap?

 

[homestar_kevin]

In a 48, my golden rule is 'just handle it'

We usually do a combination of both these approaches. There are scenes when you want the options and coverage, and there are many scenes when you can't either due to location/time restraints, or you know and trust what you got is good and enough.

There were scenes we did in a bar that we only had one shot at. There were also scenes in a studio where we had time and accessibility to shoot coverage and shoot multiple run throughs

It's kind of a leap of faith, but that's the entire idea of it.

Just shut up and shoot, you don't have time to disagree with your director on methods. Not an insult, not a personal thing, it's just the rocket you're strapped to.

There really is no time for second guessing.


BTW, what city did you do?

 

[gonzo_entertainment]

So you would prefer to run the entire scene but not going to let the actor overlap?

There are always exceptions, but as a general rule an actor shouldn't cross another actor's line (again, there are reasons and times when they should). They also should provide pauses for edit points. If they aren't I'd say "Hey Bob, you don't have to pause between every sentence, but between Sentence A and Sentence B, give me a beat". Also as a general rule they shouldn't deliver a line on action (yes, there are exceptions). "Hey Bob don't say the line as you cross the room. Say the line, THEN cross the room".

All stuff that stops somebody from being in editing hell as they try to match the cuts..

 

[Victor Nhat Nguyen]

I'm in Houston

 

[KyranFord]

However, the "standard" way to shoot coverage is to run the entire scene from each angle. That gives you flexibility in the edit rather than being locked in to only one possible edit.

This is exactly how it is normally done.

Not only does it give the editor flexibility in the cut, but it sort of 'covers' you on any mistakes, e.g. an actor's response to a cut or mismatched lines. This is also another important reason for use of a script supervisor and a 2nd AC with a slate.

Unless you are really trying to conserve the shooting medium and are experienced enough to know exactly what you want to shoot and how it needs to be shot, you typically want to run through the scene in a series of shots-- the master shot, followed by mediums and close-ups per actor. Takes are, of course, up to the director. But anyway, this is sort of out of your hands as a PA anyway. All you can do is take it and run with it whether you like it or not.