{"id":5266,"date":"2019-07-02T18:21:47","date_gmt":"2019-07-02T18:21:47","guid":{"rendered":"http:\/\/thesica.in\/?p=5266"},"modified":"2019-07-02T18:21:47","modified_gmt":"2019-07-02T18:21:47","slug":"check-list-pre-shoot-post","status":"publish","type":"post","link":"https:\/\/thesica.in\/ta\/check-list-pre-shoot-post\/","title":{"rendered":"Check List : PRE\/SHOOT\/POST"},"content":{"rendered":"

Important check list<\/strong><\/p>\n

\"\"
\nThe cinematographer\u2019s responsibility lies in three stages of film production; that is from the starting
\nof the film to its release. In each stage, the expertise of DoP\u2019s is useful to bring the performance
\nrequired to support a feature film production.
\nPRE-PRODUCTION<\/strong>
\nListen to the idea of the film.
\nAnalyze story structure \/ characters.
\nResearch accordingly like period, time etc…
\nDesign style, visualize approach.
\nDiscussion with director on new ideas.
\nComing to an agreement with director.
\nDiscuss budget requirements.
\nDiscuss and come to an agreement with Art director.
\nApprove locations \/ check local weather conditions.
\nDiscuss and approve set plans.
\nDetail and approve props, vehicles, costumes etc…
\nVisit camera rental places \/ Explore new equipment \/ Learn how new equipment works.
\nLook for special equipment or techniques.
\nDiscuss with C.G team for vfx.
\nDesign lighting set up plan and rigging for set and locations with gaffer and key grip.
\nChoose and approve crew, camera equipments, DI work station, lab, and visual-effects crews.
\nVisit if sets are under construction.
\nVisit to all locations and stages and co ordinate with all the departments to discuss
\nrequirements.
\nApprove set or location colours and textures.
\nApprove costume colours and textures.
\nDevise shooting plan with director and make a list of equipment for production manager and
\nindicate number of days required.
\nWork with assistant director on shooting schedule (order of and days required for each scene).
\nEstimate and order hard disk drive (type, size and quantity).
\nApprove Assistant cinematographers working for the film.
\nAssist other departments in getting required equipment, manpower and tests.
\nMaintain regular contact with other departments.<\/p>\n

TEST SHOOT<\/strong>
\nfor look
\nfor lab\/ DI
\nfor lighting of Lead actors
\nfor camera and lenses<\/p>\n

\"\"<\/p>\n

SHOOTING\u00a0<\/strong>Check list
\nCamera.
\nLens & mount type (EF OR PL).
\nMatte box & filters.
\nBatteries.
\nBattery charger.
\nIn- camera \/ external microphone.
\nTripod, base plate, pan& tilt head.
\nAC main adapter.
\nCamera umbrella.
\nLens cleaner kit.
\nFocus kit \/ white pencil.
\nHard disc drive.
\nMemory card (camera).
\nCard reader.
\nLaptop.
\nVideo assist monitor and cables.
\nHi hat and other camera mount.
\nTrolley\/crane\/special grips.
\nWeather proof covers \/ black cloths \/ skimmer cloths.\u00a0Lighting kit with stands, cables, flags etc…
\nReflectors.
\nGenerators.
\nCheck above all equipments in order with assistant cameraman.
\nGo through the call sheets and shooting order of the day\u2019s work.
\nBlocking.
\nWatch rehearsal of scene to be shot.
\nDevise shot list with director (coverage).
\nChoose lens and composition; show to director for approval.
\nMake sure composition and movement fulfil scene task.
\nWork out mechanical problems with camera operator, assistant camera, dolly and crane grips.
\nSet any camera-movement cues.
\nPlace stand-ins and rehearse, fine-tune.
\nEnsure proper coverage of scene for editor.
\nWork with assistant director on background action.
\nLighting – Design lighting to show set\/ location to best advantage relative to story, style and
\ndramatic content. Make sure mood and tone of light help to tell story.
\nDesign light for minimum changes for other set up shots to follow.
\nSet photo flood lights (dimmers, spot lights, colour changes and any practical lamps) if
\nrequired.
\nSet any additional cameras required for shots.
\nDouble-check safety with all concerned.
\nShow shot to director to make any final changes.
\nGet actors in for final mark for lights and camera movements.
\nTeach beginning actors movie technique (hitting marks, size of frame, lenses, etc…).
\nShoot the scene.
\nApprove for correct take with the director.
\nLook for video playback.
\nMove to next set-up.
\nComplete day\u2019s work.
\nDiscuss first set-up for the next day.
\nEnsure that camera, lights, and grip crews for next day set up.
\nTake care of any future or ongoing production issues.
\nVisit production manager and producer at the end of the day.
\nCheck with DIT recorded images are being transferred safely.
\nView previous day\u2019s work in projected rushes with director, producer, editor and camera
\ncrew.
\nDiscuss and approve rushes, if any go for re shoot.<\/p>\n

POST PRODUCTION<\/strong>
\nDiscuss with editor and director. Be aware of delivery dates for all post-production.
\nStart DI- Color Grading.
\nGrade and approve songs and trailer for audio function, theatres and television.
\nApprove all optical and digital effects composites.
\nFinal grade the picture.
\nShow to director for OK.
\nApprove for final dpx rendering and send for mastering.
\nWatch first copy with Director and production crew.
\nSupervise and approve film or digital original transfer to electronic media \/ DVDs.<\/p>\n

\"\"<\/p>\n

– CJ Rajkumar<\/strong><\/p>\n

Author\/Cinematographer<\/strong><\/p>\n

<\/div>","protected":false},"excerpt":{"rendered":"

Important check list The cinematographer\u2019s responsibility lies in three stages of film production; that is from the starting of the film to its release. In each stage, the expertise of DoP\u2019s is useful to bring the performance required to support a feature film production. PRE-PRODUCTION Listen to the idea of the film. Analyze story structure […]<\/p>\n","protected":false},"author":2,"featured_media":5267,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"translation":{"provider":"WPGlobus","version":"2.8.1","language":"ta","enabled_languages":["en","ta"],"languages":{"en":{"title":true,"content":true,"excerpt":false},"ta":{"title":false,"content":false,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/5266"}],"collection":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/comments?post=5266"}],"version-history":[{"count":2,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/5266\/revisions"}],"predecessor-version":[{"id":5271,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/5266\/revisions\/5271"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/media\/5267"}],"wp:attachment":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/media?parent=5266"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/categories?post=5266"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/tags?post=5266"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}