foreign [Music] so now we've had a look at the Stills option we've had a look at the physical location option I think you can see it's significantly easier the physical location you've got a lot more choices you get a lot more ways to make things look good which you can skew things in your favor so definitely do the physical option if you can especially with the director because if it's a newer director even or someone that you've worked with a couple times it is nice to stand in the spot without any of the pressure of
any of the other crew around and no time pressure and to just go through ideas just let them talk through their ideas you talk through your ideas what you think is going to look the best and maybe you can come up with something that you can incorporate on the day that they hadn't thought of or an angle or a way to play the coverage or even as simple as which side of the car they're going to stand on or where the two people are going to stand when they're talking to each other what's the best
angle for uh the woman in the head what's the best angle for the guy what's the best background can we cheat that somehow do we move to a different location for a background that is better those are the things you can find out if you're actually there on the day now going forward we've accumulated all this information we've found out what we like the best now how are we going to turn that into a story and how we're going to do it quickly so that it actually makes a difference in deciding the final Factor well
if we just look now for a minute at the agency boards remember we looked at these before these just give give us a very basic no location rough guideline for what we need to look at I would say there's no real big red flags here that jump out normally on location Scouts you're looking for the big red flags the things that could really hose us on the day that we can't actually fix so for example shot number one you know there's nothing there that we can't get there's no nothing there that's going to hold us
back there's no building right behind where we'd want to be standing that limits how far back we can get there's nothing in the background that makes a big difference to the shot this coverage is nice and easy we've got more than enough room on the road to do that kind of shot of the tire the singles we can shoot during the bad time of the day and we know we can fill those in and use some overhead and use some diffusion to help create that shape and there's nothing at location that is limiting us on
where we can put stands or where we can put the overhead or can we move the talent around there's nothing like that there's no red flags there so I would say all good for all of the locations for all of these things this car inside the car shop we still haven't talked about whether or not that's stain outside the car we're just basically going over the storyboards and saying okay we remember everything there's no red flags we are good to go let's put forth that recommendation for why location number one is better than location number
two or option number one is better than option number two I would say I would lead with the background I would lead with there's more space there's also another telephone pole in there that we can use to help uh to cover ourselves or to add some more depth to the frame versus the other side that Cactus seems a little bit close to the road there's not as much length of Road you know you can imagine if we were outside the 3D World actually we should jump into it now if we were outside of the world
let's jump in with our character here you see like this could be if we fly away and fly down here this could be instead of just ending here where I just ended the map you know it could turn off and there's not as much physical Road here so maybe we want more distance uh than option number two gives us I mean it is nice for the Sun but there's just more Road here you got more depth you've got the two um lights Street lamps that give us a little bit of depth and we're really good
from all angles right it feels like desert it feels like it's out in the middle of nowhere so that is the kind of those are the kind of stories that I would be weaving I'm saying okay this really sells it we've got more Road there's more stretch here it feels more isolated if that's something that you want to lean into say you talk with Andre the director and he says I I don't want it to be quite as desolate as they mention in the agency boards or that we mentioned in the treatment maybe I want
it to feel a little bit more built up well then you start saying okay well if we want it more built up why don't we use these this Crossroad here right this inner section we can use that because that feels more dense we can use some cars in the foreground or passing by those are the things or we can look for buildings that might be further up this way or further up that way you're just constantly taking those little tiny Clues and those little tiny slips in to try and figure out what it is someone
is after so from there I would say yes definitely the direction of the sun works perfectly we'll be able to shoot that style that we found in the treatment we'll be able to do all of those things we've got enough room on the road to put up the nag to put up the diffusion there's no limits right there's no power out there but we're going to bring in our own generator if we need to on something like this day exterior and with how fast we're going to be moving and that we found a location where
we can aim North with most of the action we know we're not probably going to have to use lights so we can save some money there if that question comes up do we need lights well we look at the schedule we look is it going to be overcast is it going to be clear if it's going to be clear and we're going to use bounce and nag for all of our lighting options then we probably we won't need a generator which can then free up money to go somewhere else to a better car or more
Talent or whatever it is you're just trying to free up that money as quick as you can in the in the process so that it can get allocated somewhere where it can be more beneficial so I would lead with the look there's no problems from the Sun or the angles like that and try and sell to the director and the producer they're both going to want different reasons you know the director is going to want to hear why this location is going to make it better then maybe he prefers option two and then you say
well from a practical standpoint there's just not enough room to fit the two cars in in location number two without seeing the the intersection without seeing that road so maybe you go that angle um with somebody maybe the agency and the client maybe they love option three and now you have to go in there and say okay option three is not going to work for any of the shots okay it might work in the morning but it's going to look so bad in the afternoon that we can't recover from it now maybe we can shoot
two mornings instead of uh the one day but that's going to cost production a whole lot more so you just lead with Solutions you lead with yeah we can do it we can definitely shoot option number three but it's going to have to be split because there's no solution like it doesn't matter how many lights you bring we're never going to be able to overpower what the sun is doing out there on a clear day so just forget about doing it in a single day there it just makes our life so much more difficult um
option two again it's a little bit narrower option one seems to be the way to go unless something comes back so I backed together a quick little email I always like to inform the director of the choice that I would put forward first before I move on to the production because you're really on the director's side mostly unless it's a producer that you work with quite a bit and it's a newer director to them they might not have a budget level they might not know the way the producer works so I would say I always
put in a call to the director and say hey this is what I'm thinking if they're not out there on the Scout with me which again is another selling point for bringing the director with you spending as much time with them as you can in the pre-production process because you can have these conversations on the way back in the car and they're just Priceless to what they can do and how they can speed things up on the day and in the selling process in pre-production so put in a little call hey I'm thinking option number
one what do you think listen if they have any concerns and then you mitigate those concerns as quick as you can and maybe they're legitimate you have to say Okay well it's got to be option two or it's got to be option three or whatever it is but I would say put in a call then put together an email just listing some of the selling points and offering those selling points not just saying uh Hey production company I choose option one first option two second option three third I mean that does get the point across
if things are really busy and they have to get this turned around right away that works but I would even I would fill it in with a little bit more story onto why you chose this because maybe they you know maybe they tally up all those preferences and the production designer says oh we really like option three well if you both just really like them maybe they take them as equal value but if you say option three is an absolute no-go and here's why blah blah blah Sun angle not gonna work must shoot two days
well then they're not going to take the you know that's going to take precedent over the production designer liking a cactus in the background or something like that so lead with story and be quick as you can to get it done
