foreign [Music] now we talked about why we want this shot at this time because again sun is in a terrible spot at 1 15. we got our lunch we rigged the camera we do all these things during this time yep that all looks nice in here for 115 yes why because the sun is in a bad spot so that's good next we are going to return two o'clock to 2 30 right the the later we push this out now the better because we want to get to this shot as late in the day as we
can but it's not like you can't be doing you can't be shooting nothing during the day you have to be getting ready for something so that you know client agency producers they're happy that at least we're moving forward but really between lunch and this shot we're buying time we're taking it slow we're talking to the director we're saying hey ideally we don't really want to be shooting this stuff until 2 30 and we get off a lunch at one o'clock so let's just take it easy this is not a hard shot to get but we
don't have to rush through it if we want to do some different options or if we want to try something else now is the time to do it for these inserty shots right let's change the lens let's try a different move let's do something to stall because we don't want to get here at 1 30. right because 1 30 the Sun is going to be straight overhead blasting straight down we want to leave this until the Sun starts to slowly creep down in the sky and give us longer Shadows this way because this shot done
at 2 30 has got a match uh shot number two which we shot at 11 o'clock okay but it makes sense we go from the insert shock to the medium shot then we're going to go closer now sometimes you might say if you're really hurting for time and you're really hurting for look depending on the time of year that it is you might want to flop these so go the close-up first then go this way then go with the median because as we pull out instead of shooting it at 230 we're shooting at 3 30
which just gives us an hour more it might be a big difference but for our purposes here we've talked to Andre the director they really want to work that we play the medium shot with the line continuity everything like that and then we go to this close-up at the end so we're going to do it that way which 230 to 315 okay that's more than enough time to get that stuff done and again we've got a 15 minute break in between to load up our next shot which we've got taking 15 minutes now 15 minutes
is pushing it right 15 minutes to get a shot especially with the line probably not doable but at this stage hopefully at this stage we would be behind a little bit because we want to be a little bit later into the day but 15 minutes probably not enough to get this right it's probably going to be more in line with the 30 minutes and you're probably thinking yourself well 15 minutes it's just a close-up of a person surely that that wouldn't take that long but you got to remember you've got the art Department they're going
to get in there you've got the fluff and buff team right hair and makeup they're going to get in there they're going to be playing with the thing we're going to look at eye lines we're going to match to the shot before which was uh what was that shot number seven we're going to want to match to this shot so maybe they bring up Q take or some other system to get the match correct so 15 minutes may sound like a good chunk of time but it's not goes like that right so that is then
to that shot and then this shot rig drone and camera and then a drone shot so this is brand new and this is not out of the ordinary for shots to be added in at the last second because what will happen after the tech Scout is normally you'll have your final pre-production meeting where the director the producer will go and speak with the agency and the client and present these are our things this is our plan this is where we're going get everybody on the same page and there might be some last minute oh wait
a sec we don't have enough for the edit or we'd really like this now that we've seen the location now that the talent has been cast we want to change it to this particular thing so drone shots not out of this is not out of the realm of possibility and they just sneak it in at the end right maybe the first ad just got this they added it in at the end of the day because we hadn't had a discussion about it but is this the best use of our time and is this at 4
30 going to match the rest of the stuff is it the best use of time on set and best use of prep time um I would argue not here and I'll tell you why I'll explain why okay so drone shots you're probably going to want a completely separate camera right so we're talking about a separate camera package and they're going to need lenses as well so if you're going to share the same lenses just making sure that they have enough time here if you're shooting this on the 35 millimeter and they also want to shoot
this on the 35 millimeter they're going to have to you know balance the gimbal you're going to want to eat up time so maybe you have to get another lens in or something like that but I would say I don't know you have to look really closely and if you download the document you can see it but in there um Tech rec is still here of the Drone shot you'll see the problem that this location and this setup what the problem becomes with a drone right in here you'll see a little tiny drone Shadow and
that drone Shadow maybe it can be taken out with VFX right if it's just a static shot you can just you know cut it out and paste some of the other Road over there maybe that's a quick fix but that's something that you have to bring up you can't really do this drone shot in the middle of the day because you'll end up with that drone Shadow so for our purposes let's say they don't have the VFX budget or the capabilities to be able to take out that drone Shadow so we're going to need a
different solution it's either we have to shoot it before because the Sun starts over here remember at our location it moves all the way over here throughout the course of the day so we either have to shoot it before when the sun is over here and this Shadow ends up off screen over here or we have to shoot it over here and the shadow ends up over here okay for our purposes though I don't really like the idea of doing it later because the shadow is going to be a completely different angle on the ground
versus our wide shots I'd rather see that shadow coming this way so I'm going to suggest that we do this in the morning and in fact I'm going to suggest we do this shot first up because we have remember we're waiting until nine o'clock because we need the Sun out of the frame right well at eight o'clock it's basically the amount of light here is going to be the same we're just going to have the sun in the shot so we can't actually shoot it so the the volume of light it's not like it's going
to greatly increase from 8 o'clock to nine o'clock it's just going to be a little bit higher in the sky which gets us out of the frame which means we can shoot the Drone stuff at eight o'clock and that saves all of our rigging time because the Drone can get there and start rigging its separate camera can use the lens because we don't need it early on in the morning and we can be doing all of this work while the Drone is also doing the same amount of work to get there and do this drone
shot right so I'd be thinking okay let's get there early because the the sun will at least be the same direction as the other wide shots will avoid the shadow on the ground of the Drone itself and it just doubles up the work so that you're being more efficient there's more stuff getting done rather than splitting it away to the end of the day and then if we are behind right because we secretly we actually want to be a little bit behind for these two shots well if we're an hour behind now that puts us
at 5 30 instead of 4 30 for the Drone shot which now it starts to get really really late and much darker than the other shots so let's front load all of our work it also buys us more time to do the setup on this particular shot right because we'll be doing the Drone shot so all of our location of the car relative to the road all those things that normally take you know a good 45 to an hour to shoot and set up all that stuff all those logistical things all the art Department things
can be done on the Drone shot because wherever these cars park you know that's a big question on the day where are they going to be relative to this poll where they're going to be relative to the background those things take time on set to decide and then get everybody to move the cars and put them in the right spot we can line all of that up on our a camera while this drone shot is being done right because we can be over here with the a camera pointing this way actually getting up and lining
up our scene so that as soon as the Drone shot is done we can come up here and already be rigged for the shot so look out for those bogeys when you do get that initial schedule have they added any shots have they thrown anything out of order that you didn't want right have they placed the close-up as the third shot instead of this shot have they gone this shot to the Flop the other side the reverse anything like that that's what mainly what we're looking for and then you're just going over the times to
be like okay I definitely have enough here I don't have enough here and if you're working with a new first ID or a new director or a new crew just be aware that if you like to light the framework way and you like the light from outside you like to have big sources you want to front load all of the work and generally a great first ID will ask you just how you're going to operate what you think whether on the tech Scout or just in a separate email but be aware of those things when
you're going in so for us the schedule looks good everything lines up the only thing we're going to suggest to move is that drone shot to the front which will help front load all of the work and get everybody off on the same page and and just get those little wins early to start accumulating momentum which is what we want throughout the day so that's our look at the schedule and from here it's all about revising and getting into the actual shoot day
