Cinematography-Theory-And-Practice

Figure 15.22. (top) A 40 foot lightingtruck shelved out. (Photo byMichael Gallart.)Figure 15.23. (bottom) The truckfully loaded with gear. The 40-footeris the largest truck normally usedby film crews; it is a semi-trailer. Forfeatures, there will generally be a40-footer for grip and a separate onefor lighting. (Photo by Michael Gallart.)called tweaking. Of course, the less the better, but ultimatelyit is the DPs responsibility to get it right, even if there is somegrumbling from the AD. When ready, he informs the AD.first team in and actors are brought back to the set.operator, then announce that he or she is ready for a take.last looks and the makeup, hair, and wardrobepeople to make sure the actors are ready in every detail.in motion.lock it up: this is repeatedby second-second ADs and production assistants to make sure thateveryone around knows to stop working and be quiet for a take.roll sound.speed (after allowing for pre-roll).roll camera. camera speed. (If there aremultiple cameras it is A speed, B speed, etc.)mark it, and the second AC slates,calling out the scene and take number.out set. background action, meaningthe extras and atmosphere begin their activity.action and the scene begins.cut.shot and any reasons why another take may be necessary or anyadjustments that may make the physical action of the shot workmore smoothly.tells the dolly grip back to one, meaning everyone resets to positionone.dial (amount of film shot on that take)and makes his notes on the camera report.starts over.Some directors prefer that they be the only ones to call cut. Othersask that if something is terribly wrong and the shot is becoming awaste of film, the DP or the operator may call cut and switch off thecamera. The operator must be sure they know the director’s preferenceon this point. The operator will call out problems as they occur,such as a boom in the shot, a bump in the dolly track, and so on. Itis then up to the director to cut or to continue. If you as the operatorare in a mode where you call out problems as they occur, youcertainly want to do it between dialog, so that if the director doesdecide to live with it, the sound editor can cut out your comments.Most directors prefer that no one talk to the principal actors exceptmost directors don’t mind if you just quickly mention it to the actordirectly — but only if it will not disturb their concentration.cinematography306