Can some of you provide input, in list form, of the items that are commonly forgotten or overlooked by the budding director?

Thanks.

Can you be more specific? Like things that have to happen in order for the shot to be ready? Or more like continuity?

Can you be more specific? Like things that have to happen in order for the shot to be ready? Or more like continuity?


As you were. I meant the small things people don't normally think of i.e. velcro straps, sand bags...etc

Well, normally a director doesn't oversee those types of things, a producer does, but I can see what your getting at.

Proper lighting equipment-Gels to color balance, black wrap, cloth for windows, enough lights for the whole scene not just the actors, sand bags, clothes pins (C-47s), spring clamps, bounce cards, flags. Most people think "I brought some lights, we're good to go." No. That's bad. You need to be able to control the lighting to pull of the good shot.

Proper Audio equipment-I am not sure what would go here but I know one of the first things that suffers in indie films is audio. Get that together.

These are usually the first two things that are "forgotten" when it comes to production. Then there are other things:

A shot list
Story boards (Yes they are different)
Contact list-Complete with everyone's cell numbers, and contact of person who is in charge of where your shooting
If it is a big location-some kind of walkie-talkies
Schedule of the day
Call times list
Where to Park and how much it will cost
Place for people to stay/eat/break
An AD (These guys are worth their weight in gold if you have a good one.)
Pens-Sharpies
Gaff Tape
Leatherman or Gerber tool
Flashlights
Extra random batteries
Extension cords
More then one vehicle
Masking tape
Extra water/gatorade in cooler
Menu of place where the meal is coming from
Location of power source at shoot location
Video assist-i can't stress how important this is on the shoot
Maps of the surrounding area-in detail

That's really all the comes to my head at this particular moment. Most of the time these kind of stuff can be avoided. Talk to your DP ahead of time and figure out what kind of shots he wants for what scene. Then talk to the gaffer and give him the info. Better yet, all three of you sit down and talk about what is needed where. Include the audio guy so he can figure out the best way to record for what scene. It's all about communication. Feel free to give the PA's some responsibility as well. Give them a list of things that you may need for the shoot. Check and double check everything. I hope this helps.

As you were. I meant the small things people don't normally think of i.e. velcro straps, sand bags...etc

Have the gaffer and the DP each give you a list of equipment, materials, and expendables. You will need to rent or buy depending on what they are. Have one PA that you can afford to send off the set during shooting in case you missed something.

Thanks guys. Good info.

More "Grip" oriented, but

Sandbags
extention cords of all descriptions
Apple Boxes
Plenty of tape
Paint to dim down lightbulbs
lightbulbs
Wasp/Hornet Spray
Police caution tape
Fire extinguisher
First Aid Kit
Pig Noses

AD/Director

Shot List
Petty cash for that blue t-shirt you have send a PA out for
Crystal Meth

What kind of paint do you use to dim down bulbs? I have never heard of that before.

What kind of paint do you use to dim down bulbs? I have never heard of that before.

Black, engine/exhaust paint works pretty well because it can take the heat. Kind of a mist it, check it, mist it some more until you get what you need. It will smell bad, but if the right kind it won't smoke.

Why wouldn't you just use scrims to knock down the light instead of destroying the bulb? Or if it is just a regular 100 watt bulb, just throw it on a dimmer. Cheaper, less messy, quicker, and saves you the headache of having to buy another bulb; everything a gaffer/producer could want in a fix. It just sounds like an expensive fix (replacing a bulb) and I can't imagine you can wash that off of a $500 dollar bulb.

Why wouldn't you just use scrims to knock down the light instead of destroying the bulb? Or if it is just a regular 100 watt bulb, just throw it on a dimmer. Cheaper, less messy, quicker, and saves you the headache of having to buy another bulb; everything a gaffer/producer could want in a fix. It just sounds like an expensive fix (replacing a bulb) and I can't imagine you can wash that off of a $500 dollar bulb.

It's for practicals. The lamp on the bedside table is too hot (for example).

Yeah, I understand. I would just think throwing those lights on a dimmer would be a quicker way of knocking that light down. More control, don't have to replace the bulb when your done. I sure your way works just as well. This is just the way we have always done it. Do you have any before and after footage of that? I am kind of curious as to see what that looks like.

I would just think throwing those lights on a dimmer would be a quicker way of knocking that light down. More control, don't have to replace the bulb when your done.

We had this problem last week, and I suggested the same thing...but I was only the boom pole operator.

I find nothing quite as frustrating as watching someone do something wrong, knowing how to do it right, suggesting it, and then having your suggestion be ignored. I hope our posts helped you by the way.

I find nothing quite as frustrating as watching someone do something wrong, knowing how to do it right, suggesting it, and then having your suggestion be ignored. I hope our posts helped you by the way.


It drives me nuts...from my very first play I was showing the director how to do stuff...but I know now that it is a waste of time and causes issues. Had to learn the hard way.

I appreciate all the helpful advice. This site has been great to me so far.

Lots of knowledge and advice here.

Been done in Hollywood for 50 years. What if it's a built in light fixture like an overhead? How are you going to throw that on a dimmer, especially if you don't have a gaffer? What if the lowest watt bulb you have on hand is a 60 and it's still too bright? Gonna wait 45 minutes while a PA drives to town from the location to buy a 40 watt? What if you're out of dimmers, or they got left at another location? By all means, throw a couple dimmers in the grip kit, but don't think you've covered every situation.

We had this problem last week, and I suggested the same thing...but I was only the boom pole operator.

Chain of command, suggest to the 1st AD, or the DP, or someone closer to the director.

Gonzo take it easy. All I was saying was that I had never heard of it. I am still new to the industry myself. I have only been gripping professionally for about 5 years or so, gaffing for only one year. The gaffers I work with have never used any paint on a bulb. I didn't mean to offend, sorry if I did. It is just that where I come from and the people I work with have been gaffing for 25+ years and have never mentioned anything about destroying a bulb. There are usually ways around it.

Anyway, take a breath and calm down. Just forget I ever said anything. You probably know more then I do anyway.

Just saying, I've seen it done many times, by professional grips. It's something to throw in the kit, just in case, along with insect repellant and clothespins, etc....

doesn't using a dimmer change the color temperature? that might be an argument for the spray...

No. It doesn't.

hi all,

yes a dimmer will alter colour temperature under about 80%.

i have some small pieces of nd .3 .6 .9 i use, especially on flouro practicals as these are not dimmable just wrap them around the tube.

also a range of smaller wattage practicle globes in the kit

a can of dulling spray. as a last resort hairspray will work to dull shiny surfaces.

you should also have "the light that makes everything look really good" in your kit........

cheers
darty

Turning into a very interesting thread. :)

I've never hear the term "Pig Nose" before, regarding lighting. Will definitely have to look that one up.

Never spray-painted an actual bulb, either... though done a lot of creative gel-wrapping, placement & other shenanigans.

(Dimmers do mess with temp, yah)



you should also have "the light that makes everything look really good" in your kit........

Gah! Where can I find this?! :lol:

Wait, I'm confused. How exactly does a dimmer mess with the color temperature? Also how much does it mess with the color temperature? Are we talking 1000K or 100K? Do you mean once the light is dimmed beyond 80% or once you dim it 80% it starts to change?

hi brooksy,

when you use a dimmer BELOW about 80% the colour temp changes.

with incandescant globes (3200k) when you lower the voltage to the globe with a dimmer the filament does not burn as hot and the light it produces turns yellow/orange.

this is quite noticable with the eye/camera and can be counteracted by using varying thicknesses of 1/8, 1/4 ctb with the result of losing more light.

not sure of the colour temp figures but it is easily seen by eye.

i prefer to use nd's to lower the level below 80%.

if you need to lower the level below 80% you should use a lower wattage fixture. usually you would only need to dim the light a couple of stops and it is not an issue of getting below 80%.

hope this clears it up for you.

cheers,
darty

ps. i have several "lights that make everything look really good" but they are very fragile and only one is working at the moment................i keep them in my kit for the clients that think they want everything.............................you wouldnt believe how many people fall for this.....