Shooting Day
Breakfast
A shooting day starts with breakfast, which begins 30 minutes before call time. During breakfast, the Director, DP, and AD review their plan for the day.
Call Time
At call time, everyone gets to work in their respective departments:
- The Camera Assistants build the camera.
- The Gaffer, Key Grips, and Grips set up their equipment.
- The Production Designer, Art Director, and Set Dressers begin dressing the set and organizing props.
- The Sound Mixer sets up the boom, etc.
The AD may call everyone together for a quick meeting to remind them of the plan for the day and any safety concerns for the location.
While everyone starts working, the Director begins blocking privately with actors for about 10 minutes. The AD and DP may be included in this private blocking as well.
Blocking Rehearsal
Once the blocking is set, the Director tells the AD that they’re ready for the blocking rehearsal, and the AD calls the entire crew to stop work and view the rehearsal. The 2nd AD helps round up the crew.
The actors perform the scene once for the crew. Before dismissing everyone, the AD asks if any crew members have questions about the blocking, and the Director tells the crew where and what the first shot of the scene will be.
This is the end of the blocking rehearsal. The AD releases everyone, and they go back to work.
Hair, Makeup, & Wardrobe
The 2nd AD brings the actors to hair, makeup, and wardrobe and gets a time estimate from the Hair/Makeup Artist. The Costume Designer helps the actors get dressed.
The DP talks to the Gaffer and Key Grip about the lighting, and the Gaffer and Key Grip work with the Grips to light the scene.
Set the First Frame
As soon as humanly possible (as soon as the camera is built), the DP and Director set the first frame, using stand-ins if necessary. The DP should set up the shot first and then show it to the Director for approval and adjustments. Every department needs to see the frame in order to work efficiently.
Once the frame is set, the DP rehearses the shot as much as possible as lighting is being finished. (Super important.)
Throughout lighting, the 2nd AD will periodically check in with the actors and the AD.
During this time the Director can check in with the Production Designer and Art Director/Costume Designer and can work with the actors while they’re getting ready.
While all of this is going on, the Sound Mixer/Boom Operator becomes familiar with the shot and figures out the best place to stand, as well as the frame lines for the boom.
Questions for Blocking
- Entrances or exits
- Props
Camera Rehearsal Procedure
AD: Camera rehearsal’s up. Quiet on set.
AD: Camera ready?
Cinematographer: Ready.
AD: Sound ready?
Sound Mixer/Boom Operator: Ready.
AD: On the director’s call.
Director: Action on rehearsal.
The cast and crew rehearses the take.
Director: Cut.
AD: That’s a cut on rehearsal.
The director and crew make final adjustments to blocking, props, focus, etc. as necessary. Then, they’re ready for a TAKE.
Shooting Procedure (Roll Call)
Take
AD: Picture’s up. Quiet on set.
AD: Camera ready?
Cinematographer: Ready.
AD: Sound ready?
Sound Mixer/Boom Operator: Ready.
AD: Roll camera.
The cinematographer presses record.
Cinematographer: Speed.
2nd AC: 2 Baker, take 2. Mark.
The 2nd AC claps the sticks and clears frame.
The cinematographer makes sure the frame is ready.
Cinematographer: Camera set.
Director: Action.
The cast and crew do the take.
Director: Cut.
Cinematographer: Camera cuts.
AD: That’s a cut.
Thank the Actors
The Director thanks the actors and then tells the AD and crew if they’re doing another take or moving on to the next shot. The AD will call out “Going again” or “Moving on.”
The Director talks to the DP, actors, etc. to make adjustments for the next take.
When they’re ready to move on to the next shot, the Director announces where and what the next shot will be. The 2nd AD takes the actors off set. The Camera Assistants move the camera into position, and the DP and Director set the next frame. The entire process begins again.
Blocking rehearsals occur once for every scene, but every shot has a camera rehearsal before the first take.
A 30-minute lunch break occurs no more than six hours after call time, and the shoot wraps for the day no later than 12 hours after call time. The cast and crew must have at least 12 hours of turnaround time between wrap and the next day’s call time rap and the next day’s call time.