foreign [Music] process has come to an end they've made a decision you've heard back thankfully for us they have decided that option number one is going to be the way to go so from here on out we now know the location that we're going to be in we know roughly the angle that we're going to have now it's about finding our look what it's going to be using some of those charts that we looked at with the sun to start to figure out the schedule start to figure out the look make some decisions on camera
on lenses on crew get everybody together what are we going to do for the lighting are we going to use a generator are we going to use a truck are we going to use bounces do we need big sources do we need a 20 by 20 do we need a 12 by 12 all of those questions now start to get answered but one thing I will say just to close up this section is oftentimes for cinematographers it can be challenging because you assume that everyone else knows the things that you do right which is definitely
not the case even though they're in the film industry there's people on the crew that just don't have the knowledge that you do of what goes into making a great looking image maybe they have some sort of rough idea but you get into the nitty-gritty of why these things make a specific difference what the impact is and how you can come back from some things but you can't come back from others so it is really important that you're tailoring your conversation the entire way through the location process right understanding what level that person is in
um the ideas that go along with image making so you know the production assistant that you're talking to they may not be quite aware of all of the factors that you're talking about if they're going to translate whatever it is you're telling them to the producer if you can't get a hold of the producer if they're going up the chain of command you have to inform that person and tail your conversation so maybe it's not quite as technical maybe it's more open and a little bit looser so that the person understands or with the producer
like the producer doesn't really I mean some great producers they really do care about this story and they're trying to get behind the director but then there's other producers that are only worried about listen I've got this much money to spend I got this director to do the job your job is to make sure that the director doesn't spend too much and you actually get something that looks halfway decent now if it comes back and it doesn't look good it's your fault if the director spends too much money it's probably still your fault right you're
supposed to depending on your relationship with the producer your responsibilities on set can change so just be aware of who you're talking to and the tone that you're taking and how all along this way even if all three locations are terrible you're still offering up Solutions right you're still saying well this is what we can do with these spots because nobody likes when someone is just negative all the time you got to be if you're gonna if you're gonna be negative about something come in with a solution don't just be the person that says this
isn't going to work because you get the reputation of someone that's really hard to work with that is never satisfied that drags on each part of the process whether it's the location the tech scale to schedule the actual shooting you don't want to be the problem you want to be the person that everybody comes to with oh we've got a problem let's go to our dp4 solution or for an idea or for a positive attitude or for someone that can take us to the next level because we're about to get into the side of the
process where all the agency the client the director the producer they've been locking this little bubble of pre-production for a couple weeks now maybe months if you're from the agency and they're looking for fresh breath of air they need someone new in the process to come in with ideas and help Elevate the process so you don't want to go in there and just uh you know lower everybody's expectations because their ideas are far-fetched you've got to come in with Solutions so locations got process is over we got the angle that we wanted we got the
location that we wanted it's time to move into the tech Scout process which the tech Scout is the most important day of a production right getting everybody it's your one chance to get everybody on the same page get the whole team together and identify the vision and how we're going to get there and draw up the roadmap and make sure there are no more unanswered questions there's no red flags and that allows you on the day of the shoot to be a lot more comfortable to be able to spot those opportunities that might come up
things you might notice things you want to do differently if you have that roadmap then you can deviate from it as you wish on the day and be much looser more relaxed more comfortable so now the location process is done we're going to get into the meat of it which is that Tech Scout process
