Prep processes-Part 1, introduction.
There are thousands of ways to prep a project, so my idea is to try something different every time I start working on a new piece. For different reasons.
The first one is: I simply haven’t found the perfect method for me yet (and this is a point I’ll discuss later: is there even a perfect method ? I don’t think so)
The next one is: I would get bored if I always used the same technique, over and over again. So I wanna try different ways.
This is the first episode, of a -maybe very long- serie. Obviously, I’ll start by talking about methods I have tried already. Okay, let’s dive into it.
What is prep actually, from a DP’s point of view ? Even this is arguable.
Well, prep is the process and/or period of time where you dive into the very bottom of the project you’re working on. The role and implication of the cinematographer during prep may vary from film to film and from director-dp relashionship (…).
How can one learn about it ?
DP’s don’t get many chances to see fellow colleagues at work (there is usually only one per film, except for some second unit or B-C-D… camera work) so learning about our art is not always easy, especially for the less talked-about aspects of our craft like prep. I don’t pretend to bring absolute light in this article. This is, like always, just my two cents.
Learning how to prep doesn’t actually exist. You just have to find a way that works for you and suits the director’s needs for the project you’re about to shoot. And since this is the least intuitive and at the same time least technical (in a general manner. Of course Storyboarding, Previz, Gearlists, … are very technical) aspect of our job, you cannot really learn about this in a book, at school, or on a DP’s website (ha-ha-ha), but instead, practise, here, is what really makes you learn about this specific matter. With time and experience, the toolbox at your disposal grows bigger and you’ll be able to determine what techniques are required in order for you to feel ready for a shoot.
What is my opinion about it ?
As a disclaimer, before I go any further, I don’t like to prep too much. Generally, what I like to do, whether it is for a feature, a commercial, a music video, a doc, really any kind, is simply spend as much time as I can with the director. And maybe test a few different camera-lenses-filters combinations. And of course, read the script.
What is the difference between what I’ll call steps and what I’ll refer to as methods ?
-Steps will include the basic and common sense, bare minimum things that happen during prep for a DOP, such as reading the script, meeting with the director, location scouting (in 90% of cases), making gear lists
-Methods will include things that I don’t always do, things I’ve never tried, things I might consider to be optional. The methods I’ll be talking about are things that I’ll decide to use or not depending on my understanding of the needs of the project and of the director. These are, in a non-exhaustive list: spending as much time as possible with the director, shotlisting, drawing lighting diagrams, storyboarding, moodboarding, watching reference movies and other forms of arts with or without the director, conducting grip-lighting-camera tests, screening the tests with the director and producer, cooking a specific LUT, using a word or a sentence to sum up each scene, spending a month in an office at the production company, pinning reference pictures per scene on the wall of my office, drawing floorplans with blocking of the scenes, using pictures taken on the sets (from location scouting) to block the scenes, using a previz software, and so on.
How different is prep for a feature film, a commercial, a music video ?
One of the main difference between narrative and commercial work, when it comes to prep, is time, and technicality. The way I see it is:
-Commercial work is more technical and the time dedicated to prep is equivalent or superior to the number of shooting days . On the projects I shoot, my involvement in prep usually ranges from 1 to 5 full days of prep for a 1 to 3 days shoot, including locations scouting, prelight, camera tests, meeting with the director, calling or meeting with art, costume, HMU.
-Narrative work is usually (not always, my second feature film was a big action movie, with lots of second camera, stunts, car chases, VFX, second units, and so on) a bit less technical, we tend to focus more on the story than on the image and technicality. Again, this is in my opinion only, based on the movies I shoot. And my involvement in prep is usually way longer. Often, the first time I’ll read a script will be a year prior to the shoot, and my actual prep time ranges from 2 to 9 weeks, for 3 to 9 weeks of shooting.
So, the way I see it, prep for a feature is way longer in terms of days but usually equivalent to the amount of time we’ll be shooting. The four features I shot had almost the same amount of prep and shoot days, and most of my time was spent on location scouting, attending to rehearsals, talking with costume and art, spending time with the director, watching movies, listening to music, all in all, creative stuff.
And commercial work has a shorter prep time in terms of days but greater in regards of the actual time we’ll be shooting, and it requires more technical, precise, non or less creative prep methods.
Remote or in person prep ? When do I allow myself remote prep.
I love travelling for work and I do it most of the time. Most of my work is abroad, so remote prep is something I am quite used to do. But, as I mentioned earlier, prep is not really my thing, even though I enjoy some of its aspects, don’t get me wrong, I’m never not happy to prep. It’s just not my favourite part of the job. Anyways, prepping remote is even worse for me. I don’t fancy long zoom meetings, I don’t feel comfortable interacting online with people I don’t know, I much prefer meeting people in person.
But, today’s tools and technologies allows us, cinematographers to work remotely on prep very easily. I can, just with my phone and Ipad, call the director and my different HOD’s and production, edit a gearlist, search reference pictures, read a script, draw a lighting diagram, view a 3D image of almost any street in the world, and many more.
So, except for narrative work (for a feature or a short, I really prefer to spend as much time as I can in person), I always feel confident prepping remote for most of it, but there are some parts that I really want to be there in person. I always insist on getting there at least a few days before the shoot, to have time to get used to the place, to meet with the director (even just for an hour long coffee, to get to chat a bit, meet in person) to go on location scouting (this is usually where I’ll get to meet my Gaffer and Key Grip) and swing by the camera tests to meet with the camera crew. And also to avoid being too jet-lagged on the shoot. I have shot things where I would get right out of a 13 hours long flight straight to set, and I don’t recommend it.
What are some of the methods that I know of and use ?
This will be the topic of a second episode about this topic.
Thanks for reading,
See you