Film Workshop – Moving Day Shoot Preparations

05-12-2023

Crew

• Director – Sophie Marshalsey
• Producer – Mara Prentice
• Writer – Kyle Craig
• Director of Photography – Oliwia Szostka

Ahead of the shoot for Moving Day, Oliwia and I ensured we had all of the necessary pre-production documents updated and were on the same page about the creative aspects of the film. I had prepared a preliminary shot list a few weeks before the shoot, which I had discussed with Oliwia. It was a simple list with bullet points detailing what I wanted the frame to look like and what would be covered by the shot. Oliwia made a few suggestions to combine similar shot set-ups, which we incorporated into our final shot list to add other shots for more coverage throughout the script. Below is the shot list Oliwia made so that Esther (1st AD) could prepare a shooting schedule.

I made a marked-up script based on the shot lists I had initially created as seen below.

Oliwia made her own marked-up script based off the finalised shot list.

Before the shoot, we had an acting and blocking rehearsal, which Oliwia attended to use the Magic Cinema Viewfinder app so we could visualise the shots within the space. I used this rehearsal to review the blocking and performance with the actors so they could feel comfortable and prepared ahead of the shoot, which was very beneficial.

Oliwia and I also spoke with Andrew to discuss camera and lighting plans. Oliwia had created a list of questions to raise with Andrew regarding our plans. This included movement within shots, achieving a daylight effect when working in overcast weather, and creating a lighting plan in an open-plan interior location. Andrew gave some great suggestions which we implemented on set, and Oliwia made notes to relay to our gaffer Lewis post-meeting.

Andrew’s main proposal was using the ARRI 1.2 HMI light – a powerful output calibrated to mimic daylight. The setup was to situate the light outside on the patio and shine through the windows into the hallway and kitchen-diner area. We were fortunate to have access to this light and ensured we had the necessary safety precautions. Andy from the storeroom gave Oliwia and Lewis a demo of the light, and Oliwia prepared a document covering all the information mentioned to be sent to the crew.

After our location recce, Oliwia took the dimensions I made into blocking and floor plans as shared in previous posts. She used these as a template to incorporate camera and lighting plans.

I wish we had time for an equipment check, as mentioned in my other module for On-Set Production. This is standard practice in the industry to ensure equipment is in working condition and for insurance purposes. Unfortunately, our schedule did not permit this, and we had to make do with the kit as it was when collected on the day of the shoot. I had my concerns about using the Ursa 12K as it isn’t a camera used on the BA Film course but instead for BA Television – these were unfounded as Oliwia went away and did research into camera operation. Gus, our 1st AC, had shot on the same camera before our shoot, so was able to help Oliwia troubleshoot and set up the camera accordingly. Oliwia and Gus independently arranged a meeting to discuss the shoot and the Ursa 12K, which paid off. The main difference the camera presented was the file settings, as the minimum file size was 4K footage. Typically, we are advised to shoot at 2K as the footage gets down-graded to a lower resolution in post-production regardless (1080p). We discussed this and arranged DIT with Mara, got a 3rd C-Fast card, and scheduled file downloads while we were shooting.

We had a lot of meetings regarding the use of the dolly for exterior shots and weather forecasting – including the possibility of rain and daylight hours. Oliwia suggested we plan to shoot with the dolly on the 20th so that if the weather meant we couldn’t shoot outdoors, we still had the 23rd as a backup day for pickups. We had to be prepared to shoot the exterior or interior on the 20th, which was stressful. Due to scheduling, we only had access to the car for the 23rd, which meant the exterior shots could only be done on the 23rd when rain was also forecasted. Oliwia also had concerns about lighting consistency regarding sunny interior shots – with the aid of the HMI light – versus cloudy, overcast, mostly weather-dependent exterior shots. Oliwia and Lewis made a plan to experiment with the HMI light for the driveway shots.

As we had so many elements and factors to consider and work around for this shoot, we planned a meeting with Mara, Esther, Oliwia, and myself to raise any concerns or issues before the first day of shooting.