My left ear is sore. That's the ear that listens most to my phone. My brain tries to listen as little as possible.
We're going to shoot a twelve hour day on Saturday. It's one part of the theater project I've been working on for the last few weeks. The first four hours will take place outside. We'll film 30 different actors on a wide pedestrian bridge. We'll film some of the more notable talents individually, some in a groups and then get shots of all of them together. Unlike still photography both the camera and the actors/dancers/singers will be moving all the time. We'll get shots of the group coming toward our side of the bridge as I move directly backwards with the camera in my hands. We'll circle around singers with the camera as they belt out the theme song chosen to open the big event. And, of course, we'll try to capture all kinds of close-up shots as well.
Everyone will be lip syncing to the same music so our editor has a reasonable chance of cutting everything together in post. While the director is aware we're trying to make sure the final client knows that we need to do multiple takes of each part of the process to make sure we get what they need. People unused to video productions have the idea that everyone just kind of magically knows what to do, where to dance and how to move and when someone yells, "action!" everyone will just automatically fall into place. Without rehearsals. And later, in the edit, we'll just zoom in and grab the parts we like. But it doesn't ever work that way.
After four hours on the bridge and in the vicinity (exterior) of the theater we'll head inside where I'll light a set for a "quick" into camera welcome speech by an "important person." We'll ask over and over again if they have a speech or need a teleprompter but we'll hear over and over again about how the person in question is a consummate pro and plans to just wing it. We'll remind the client on the shoot day about our script discussion as "the important person" wings it again for the 14th or 15th take.
Then we move to the stage for three or four hours of piecing together several creative dance and music numbers but we'll need to do it in chunks so we can limit the number of people on stage to ten or fewer to conform to local pandemic safety standards. The client is "certain" that this will work just fine and that the editor will "bring it all together and make magic". The director, editor and I are not so sure. We're wondering where to make the edits...
After that it's been decided that we'll do a big music and dance number on the exterior plaza which, at the scheduled time, will be half in deep shade and half in full sun. But the client feels confident that we can make that work. And yes! I could make that work with a crew of grips and some silk diffusion fabric to hang over the hundred foot by hundred foot plaza space.... if only we had a budget...
So, the director and I had an hour long phone call to discuss all the production issues today. The list of topics was nearly endless. We needed to discuss everything from access to restroom and access to drinking water. Those were the easy ones. We discussed timing and whether we would shoot multi-camera or single camera. The director came down on the side of single camera. That led to a discussion of how many takes we'd need to cover each scene. I thought four. Wide establishing shot, small group shots, MCU of the "star" of each segment and then some wild b-roll. The director agreed and then, metaphorically (because I couldn't see him) wrung his hands together and wondered where we'd find time in the schedule to cover so much.
We discussed time of day and angle of light. We talked about camera moves. We talked about gimbals versus handheld camera work for specific shots. We talked about a "look and feel" for the interior lighting and we even dialed down and talked about who would come early the day of the shoot to rouse the homeless people who sleep on the steps of the building at night. And who would remove the trash and broken bottles from the night before.
We discussed which kind of microphone to use on our "straight into camera" welcome shot (lavaliere/wireless) and which mic to use for our emcee to start the show (Rode Reporter Microphone/ in the frame). Who will run sound? Me, of course.
When could we schedule breaks? Will we break for lunch or do a "walking" lunch? Where are the restrooms for the actors and our meager crew? Is someone bringing water? Who is handling craft service? Can we do make-up? (no. actors to do their own...). Can someone run two extension cords to the interview site? Who's manning the board for the stage lights during the interior portion of the shoot? Where can we set up a secure location to charge batteries and store back up cameras and lenses? Do we have security at all? Do we have a rain day scheduled? Did anyone think to put said rain day on my calendar?
We went through the schedule in 30 minute increments and talked through technical issues. We both adhere to the idea that a shoot should be fun and that we can't fall on every grenade that gets tossed nor catch every javelin thrown our way. We can only pre-plan to the best of our abilities and hope that everyone else delivers their best.
It should be a crazy day. I'm bringing white towels to wrap cameras in between shots. Wide brim hats are mandatory. Face masks a must have. Ice gloves at the ready. Hopefully the coffee will run like water through my kitchen today.
If anyone asks why I do all those walks around town in the blazing heat it's to stay in shape for stuff like this. We probably won't get hit directly by any part of hurricane Laura but we'll get the heat (102° predicted) along with whopping humidity from the edges of the storm. It's best if you are acclimated. We'll have actors in the elements for a half hour at a time. We'll be on that bridge from 7:15 until 11:30 a.m. (more or less). And at that point our day will have just hit the one third mark. Bring your own shade. It's good to be prepared. The Boy Scouts were right.