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A Primer on Production

Sep 1, 2002 12:00 PM, By Bill Miller

From planning a budget to hiring a crew, this "how to" guide will help you through the common pitfalls of video production.

Depending on the size of your production, one person can usually do more than one job. For most budgets, a few key people can do all of the jobs required.

The next few pages contain almost everything you'll ever need to know about putting a video production together. Production can be as challenging as driving in a foreign city without a road map. The way is brimming with hazards, obstacles, and ugly, hairy electronic monsters leaping out at you from behind every light stand, tripod, and pixel along the way. But fear not, you can get through it if you have the desire, the patience, and the iron will of the producer who took on the production they said couldn't be done, and tackled it.

First off, there is a huge number of video recording formats, with names ranging from Betacam SP to Digital Betacam, to DVCPRO, to DVcam, to MiniDV, Digital 8, and Digital S. The list goes on and on — not to mention older recording methods such as 3/4in. U-matic and 1in. and 2in. quad recording machines. As you're reading this, new recording devices are being tested that will replace tape all together. (For a good background on video recording formats, go to www.hut.fi/~iisakkil/videoformats.html or http://videoexpert.home.att.net/artic3/256dvcr.htm)

For this discussion, let it suffice to say that you will need a camera and something to store the images on. How you choose equipment depends on budget, what's available, how your production will be viewed, location or subject restrictions, and personal preferences. Whatever your choice, the basics of the production will be the same.

Putting the Team Together

Video production is a team effort, although if you have a big enough head you can wear all the hats yourself. This is not a wise choice because it leads to migraines. Depending on the size of the production, one person can and will do more than one job. If you've ever watched the credits at the end of a movie, you know that the number of people involved can add up to a small army. For most budgets, you can get away with a few key people. Not all productions can even afford the luxury of all these hands, with one or two people doing all the jobs.

Here is a list of key people and duties:

• Producer — In charge of putting all the elements together and keeping the production from becoming unglued once it gets underway. The keeper of the checkbook.

• Writer/researcher — Gathers all ingredients needed to write an outline, treatment, or script.

• Director — The orchestra leader who blends all of the pieces together and brings your vision to the screen.

• Casting director — Identifies, locates, and auditions actors or real people who will appear in the production.

• Location scout — Finds and secures shooting locations.

• Videographer/technical expert — (Also known as director of photography) Handles the technical needs of the shoot pertaining to photography and operates the camera during the shoot.

• Gaffer — (Also known as lighting director) In charge of lights and lighting.

• Grip — In charge of hanging lights, carrying equipment, and rigging grids and operating dollies.

• Makeup/wardrobe — Primping on-camera talent to look their best.

• Script/continuity — Keeps tracks of all scenes and dialogue and takes copious notes on production.

Crew may also include production assistants, craft services (food), drivers, gophers, teleprompter operators, and other helpers.

Budgeting

Usually budgets are prepared at the outset of the production, but this can be a case of which comes first, the chicken or the egg? If you don't have a script, it's hard to create a realistic budget. Budgets have lots of hidden pitfalls, and it's best to enlist a producer familiar with realistic budgets. Books on video budgeting are available at Amazon.com.

Many areas are usually under-budgeted, leading to cost overruns, ulcers, and job insecurity. Time is a big factor. Most productions underestimate the amount of time it will take to set up, shoot scenes, break down, and clean up afterward. Also remember that someone has to return props, wardrobe, and equipment — areas all too often not budgeted.

I have rarely been on productions that get everything done in eight-hour days. Ten- and 12-hour days are the norm, not the exception. Don't forget crew overtime, pension and welfare costs for union workers, travel to and from location, and meals for the crew. Be sure to account for equipment breakdowns, restoring studios or offices to original condition (perhaps a cleaning crew will be needed), and items such as lighting gels, gaffers tape, and paper towels.

Keep in mind that most freelance video workers are not subcontractors, so you'll have to pay workers' compensation and FICA taxes. Insurance is an item that always gets neglected until the hour before shooting starts. You'll need liability insurance (often a minimum of $2 million, sometimes as high as $5 million if stunts are involved) and equipment insurance with rental houses named as co-insured. And what about transportation? How are all those people, cameras, and lights going to get to a location, and where will they park? And who's paying for it?

Beware of Unscouted Locations

Scouting the location beforehand is essential to a smooth production. Don't leave this up to a production assistant or Polaroid pictures. You not only want to know where the camera will be placed and where the sun rises, but where the trucks can park, where equipment can be stored, where the bushes are (for male crew members), and where to set up lunch tables. Also check on noise conditions if you're shooting sound.

Scouting should take place as close to the time of actual shooting as possible. I had one situation where we scouted a lovely neighborhood near a private airport. It was quiet during the scout, but when we rolled cameras, due to a wind shift, planes were flying overhead every five minutes. Talk about overtime. Also find out about local ordinances on parking, filming permits, special duty police or firemen, electrical needs (lights don't run on butane), and other rules that may shut you down or delay the process.

Putting the Crew Together

Now the fun begins. Gone are the days when crews were part of the staff. So where do you find qualified people? First decide if you want to put the crew together yourself or hire a full production company. For the novice, hiring a company is often the better choice, albeit more expensive, but worth the extra six-pence for ease of mind.

Either way, you have to find the production company or the personnel. Word of mouth is a great place to start. Call friends in the business for referrals. Many towns have film or video commissions with lists of qualified personnel. But beware — just because a person is on a job board or has a website doesn't mean they are tops in their profession. These days anyone can be listed anywhere, and resource boards don't have the resources to qualify their lists.

Websites and yellow pages are a good resource. When going into a new town, if I don't have any referrals, I will go to www.yellowpages.com and look up video production companies. Again, this is tricky because anyone can have a listing. It's almost like throwing darts. Do you pick AAA Video or Mad Dog Video or the Best Little Video House West of Tampico? No easy answer here. I usually call a half dozen numbers and ask first if they have the personnel and equipment to do the job, then ask for references.

Don’t try to accomplish too much in one day. Break the day down into blocks of time and use this schedule to assess how the day’s work is going.

Try to speak with someone in a corner office instead of a receptionist, and don't be afraid to ask tough questions. Have the company send you a reel with a list of who did what on each job. The types of jobs the company has done and the quality of its client list reveal a lot. If the company refuses to divulge this information, dial the next number.

Also ask which specific people will be assigned to work on your job. The company could have great credentials, but may be involved in a dozen other projects and will assign your job to a lower level staff member or freelancer. If you know who you're getting, insist on seeing their work as well. Even a thorough background check doesn't guarantee results. Have a backup company in line, just in case. Stuff happens, so they say.

Once you decide on a company, formalize the agreement so you'll know exactly what you will be charged. Allow for contingencies. Keep in mind that there are a lot of shady characters in the video business, so some vendors will insist on a check (sometimes certified) before production begins. Others will want to do a background check on you. This is normal and should not be taken personally.

The same rules apply to hiring a production crew yourself. Shop around, ask questions, and view reels. Face-to-face meetings always reveal more than telephone interviews. I have kept a complete list of everyone I've worked with over the years, including the name of the job, the city, the person's job title, and their phone number. This is a good resource that I go back to time and again. When the job is done, keep references for future projects. It's so easy to forget who did what, when, and how good they were.

Be Organized

There's nothing worse than waking up on the morning of a big production and wondering if you've told the crew where to meet you and at what time. Proper planning will relieve these tensions. Prepare a thorough production book that contains the following:

• The name of the job, your name and various phone numbers (include mobile phones), and client name and numbers.

• A list of crew members, cast members, and vendors with their phone numbers.

• Production schedule, call times, location addresses, and phone numbers. Break the day down into blocks of time. You may not always achieve these goals, but the schedule will be a good barometer as the day progresses. If you're running behind you may need to cut some shots, or if you're early you can afford to do an extra take. (And don't forget lunch.)

• Directions to locations. These should be accurate and someone should actually drive them. Include maps where appropriate. (Mapquest.com is great for this, but don't rely on the site being 100% accurate. Detours do happen.)

• Scripts and treatments. Only people like Woody Allen don't like anyone seeing the whole script, but unless the information is classified or privileged, there are not a lot of good reasons to not share the script.

• Props, wardrobe, stunts, and anything else you think people should know about each shooting day.

Let People Do Their Jobs

Once the production has started, let the people you've hired do their jobs. Nothing is more frustrating and counterproductive than a producer who also thinks he's the director, videographer, choreographer, and special effects specialist. (The only pyrotechnics here will be people blowing their cool.) Actors like to get their direction from one person, the director. A half dozen people throwing cues is very disruptive. Don't feel you can't make suggestions, but channel them through the proper personnel.

Keep a list of crew members you’ve worked with, including the person’s job title, the city, and the name of the job. The references will be a good resource for future projects.

Time and budget are always prime considerations and should be watched carefully. Also try to have someone taking notes (timecode, continuity, script changes, etc.) This will help enormously in postproduction. Also, label tapes as you go along. Nothing is worse than ending up with a box of spent video with no markings. Store tapes in a safe place.

And don't try to accomplish too much in one day. It's not uncommon for video shoots to run 20 hours a day or more. This is not good. Tired crew plus tired actors equals bad video, spent nerves, and accidents. Keep in mind that crew members need to drive home after work. So be reasonable in projecting what you think you can accomplish on shoot day.

The Production is in the Can

When the wrap party is over, you can relax for a few days. This will give you time to reread my article on working with editors (“In Session,” March 2002) before moving on to the next phase of production. Producing video is a continual learning process. Never stop learning, never stop experimenting, and above all, never stop having fun. When that happens it's time to become a farmer.

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