Cinematography-Theory-And-Practice

Figure 15.20. A common slatingmistake: pulling the slate out whilealso clapping the sticks. This resultsin blurred frames that makes it difficultor impossible for the editor toread the numbers or see the framewhere the sticks come together. Seethe DVD or website for more examplesof slating mistakes, as well asvideo of proper slating procedure.The situation may call for “wild walls,” which are walls or otherpieces of the set that can be easily removed to make room for theconsider not only the set, but how it will be positioned on the stage.There might be a window or glass wall that would be a great lightingopportunity, but if it is only a few feet away from the wall of thestage, it may be difficult or impossible to use it. On the set, the DPis in constant communication with the assistant director concerningthe schedule: how much time is left before the actors go into over-of the most stressful jobs in the industry; a good one a real treasure.what scenes will be shot on what days and a one liner, which is a oneline description of each scene. The schedule also indicates whetherscenes are day or night, interior or exterior, whether the day scenesare to be shot during the day or night and vice-versa. This is essentialfor the DP in planning what equipment and supplies will be needed.At the beginning of each day, a production assistant or second ADwill hand out sides. These are copies of the script pages to be shot thatday that have been reduced to a quarter of a page, so that they can beeasily slipped into a pocket. The sides are the “bible” for the day. Ofall the principles of filmmaking perhaps the most important of all isthat everyone must know what is going on and is working, as theysay, “on the same page.” Communication is the key — nothing canderail a production quicker than poor communication. This is whyeveryone should have a copy of the script pages for the day.During shooting, the DP is under pressure and is thinking about adozen things at the same time; complete focus and concentration areessential. One of the unwritten rules of filmmaking is that only certainpeople talk to the DP: the director, of course, the first AD, thefirst AC, the gaffer, and the grip. A working set is no place for idlechitchat, or as a great AD used to say, “Tell your stories walking.”cinematography304