If I were to take "Outhouse" from script to screen - Every role

 

If I were to take my script to screen here's what I would do in each role. 

DIRECTOR - PRE-PRODUCTION 

Read through the script and interpret it. - Re-imagine the script how I feel I want to set the tone visually. Think of the Genre and Characters and how I wanted them to react at certain parts. Work with the Producer to cast the film. Create my own Storyboard and shot list to communicate my thoughts on how the film would look aesthetically. These would also describe the camera placements and angles. Talk with the Cinematographer and compare shot lists and storyboards. Come to an agreement regarding the look and feel of the film. Rehearse with the actors on zoom or google meets and block the performance beforehand.

                                           A very rough storyboard 
 

 DIRECTOR - PRODUCTION

Calling the roll correctly making sure the clapper will always be in the thumbnail and everyone knows exactly what to do regarding their roles. Calling "Action" and "Cut". Make sure actors are in positions and know where they are moving to (if they are). Try to get the best performance from your actors. Work closely with them and explain how you think their specific characters would be and how they would express dialogue to fit the tone. Rehearse a few times and check the camera angles to see if they would work how I imagined them. Make sure the sound recordist has the mic placed in the right spot to not be in shot and knows how the actors are going to move in order to safely move with them and not be in shot at the same time. Monitor the filming. Discuss with the Cinematographer and Producer about getting coverage footage. The Producer needs to make sure it's doable regarding the schedule. 

DIRECTOR - POST PRODUCTION

Sit in with the editor throughout the process and explain my vision for the film working together to produce the best possible cut .

CINEMATOGRAPHER - PRE-PRODUCTION

Read the script and think of the way I want it to look. Talk with Director and sort out the blocking. Regarding lenses I would pick the widest 16mm Prime lens and a 24mm- 80mm Zoom lens to make sure I could cover the common focal lengths used in film like 35mm, 50mm etc. Think of the Aesthetics and feel of the film. Liaison with Lighting and make sure they know how they are to light each shot. Look at the storyboards and shot lists with the Director and Producer and make sure we are on the same page and ready to shoot. Regarding the Equipment I'd make sure it was setup as much as I could the day before taking into consideration the time of day we're shooting , what ISO base to use 800 or 2500? (this could be determined on the day along with the White Balance). Make sure all cards are formatted, batteries charged, etc. Test out the Blackmagic monitor, I would write a little itinerary to help me make sure this was done. 

CINEMATOGRAPHER - PRODUCTION

 Get the White balance set using a white piece of paper and set the ISO base accordingly. Turn Peaking on on the camera (if setup properly it's on button 2)  Setup the Blackmagic monitor and prep the first set up. Communicate with the Director and Producer make sure everything is running on time and within schedule. Rehearse a few times and figure out if the lighting is going to work as planned. 

SOUND RECORDIST - PRE - PRODUCTION

I would make sure the Zoom was setup and get to know how they work. I keep referring to the Zoom F8N Setup guide from the estudio and always keep a copy in a book. It's a pretty complicated setup but once it is setup it's a breeze. Format cards. Have a look at the storyboards to get an idea where I could be located to capture the sound appropriately and not be in shot. 

SOUND RECORDIST - PRODUCTION

I would check my levels first thing and get two recordings while no one was there: 

1. Room tone of the Outhouse (3 mins)

2. Air tone in the Garden (3 mins)

Work with Director and Cinematographer and listen to what they wanted me to do and where they want me to be while shooting.

Respond correctly to the Calling of the Roll with "Sound rolling" or "speed" 

Record Foley of whatever needed like footsteps, gates opening, cans being placed on a table etc. 

SOUND RECORDIST - POST PRODUCTION

Assist the Editor to see if any additional Foley is needed. Also discuss the soundtrack and if its having one. 

EDITOR - PRE-PRODUCTION

I would go through the script with the Director and find out what sort of Genre and Aesthetic they are going for to help with transitions and pacing of the edit. Study the Genre. "Outhouse" is a typical western revenge film . I watched a few films for inspiration like "Dead Mans Shoes" and "The Good The Bad and The Ugly" which  if I was editing I would also do to get an idea for how they are cut etc.

                                   Dead Mans Shoes

                                   The Good The Bad and The Ugly

EDITOR - PRODUCTION

Although an Editor wouldn't usually be on set I would like to be to get a better understanding of what the Director expects. And maybe suggest a few coverage shots I think would flow better thinking from an editors POV. 

EDITOR - POST PRODUCTION

First thing I would do and always do now from experience is to organise the footage and sound files in to folders that are labelled for easy access. Match up all the clips with the correct sound files using the clapper and buzz track recorded on the cameras audio. Import all the footage into a timeline on Adobe Premiere so it's in order then make cuts where needed to make it flow right. 

As I was the Producer for this project I feel I have gone in to the role in my previous posts.