Filming

from Wikipedia, the free encyclopedia

The shooting (singular: the shooting, colloquially also the “shooting”) is the third, executive phase in the phase structure of a film production , in which the actual film recordings are made through the work of the film staff and the actors . The term comes from turning the drive crank on the original film cameras of the silent movie era .

activities

Cameraman and sound assistant
during filming

In addition to the classic film professions, actors , directors , cameramen or sound engineers and their respective assistants ( assistant director , camera assistant , sound assistant ), the production manager plays a decisive role in the shooting . He is responsible for the daily implementation of the shoot and is responsible for the daily disposition, the organization of barriers and transports or the catering. For larger productions, there is often a second in the production office in addition to the unit manager on the set. In cooperation with the production manager , he also creates the shooting schedule in advance of the shooting and looks for locations . The production manager who reports to the producer is still responsible for the most economical organization of the employees and actors and, in addition to supervising the shooting, also oversees the entire film production.

In addition, there are numerous other activities that serve the organization and the orderly sequence of the shooting, such as cable carriers , production drivers or set runners . Other activities exist in connection with the preparation of a daily  production report , which shows the progress of the shooting compared to the shooting schedule and contains further reports. This includes the shooting report (English.  Dope sheet ) with instructions for the copier and the cutting room, the continuity notes for compliance with connection details and a report on unforeseen events. In addition, a  sound report is created , which, similar to the shooting report, contains detailed information on the recorded material, but with regard to the sound recordings. Other typical activities during filming are that of the script supervisor to record changes to the script or the still photographer to produce image material for advertising and documentation purposes.

Shooting "on location", ie at the location of the narration

procedure

preparation

Shooting can be done in the film studio or on original motifs. The choice of film set (Engl.  Location ) has this artistic and economic reasons. While shooting in the film studio offers the greatest planning security, the production of the sets is sometimes associated with a large financial outlay. For artistic reasons (see also Nouvelle Vague and Dogma 95 ), filming is therefore often done at the original location, ie "on location", although outdoor shoots require more effort than studio shoots, as equipment and personnel have to be brought to the location. While in the early days of film as many outdoor shots as possible were made because solar radiation made it possible to expose the still quite insensitive material, nowadays, also due to the increased use of CGI effects , more and more shooting is taking place in the studio.

Depending on the laws of the respective country, the producer must obtain filming permits from private individuals, authorities or companies for the selected locations before filming . In the case of extensive film recordings, closures in the inner city area with signs and diversions may be necessary. In Germany, a special permit according to § 46 StVO is necessary for filming in public streets . It must always be available if public roads are to be used in a way that deviates from the StVO. A filming permit within urban areas is usually associated with fees that depend on the complexity and scope of the filming as well as the attractiveness of the location.

Example of a shooting schedule

If the locations are fixed, the screenplay scenes are each in a screenplay excerpt (Engl.  Script breakdown ) with all the shooting relevant information summarized. The organizational sequence of the shooting is then created with the shooting schedule , specifying the locations, decorations as well as the necessary personnel and equipment, sorted by date and time. The sequence of the scenes to be shot is not chronological, but depends on organizational aspects such as the availability of the actors or the motif and, in the case of outdoor shots, on the season, weather and light situation. As a rule, all scenes of a motif are shot in one go.

For each day of shooting there is a  production breakdown , which summarizes the relevant information from the shooting schedule and lists exactly who has to be on the set for a planned day's shoot. At the same time, it provides information about scene numbers, the script pages and locations that are binding for the day, as well as the necessary equipment.

Main shooting

Experience has shown that the actual shooting phase is the most cost-intensive because this is where the actors' fees are incurred. When filming begins, the preparation time is over, that is, the final version of the script is available, the cast has been determined, the buildings on the set have largely been completed and the motifs for the exterior shots have been determined.

Immediately prior to the rotation of a setting , the scene is played out with a rotating sample involving camera, light and sound. The recording then proceeds with a ritualized, quick sequence of instructions and confirmations:

Clapperboard shortly before the actual recording begins
  1. Production manager / director: "Quiet please!"
  2. Director / assistant director: “Ton off!”. Answer: "Sound is running!" (Or "Running!" For short)
  3. Director / assistant director: "Camera off!". Answer: "Camera is running!"
  4. The flap follows .
  5. Director: "And please!" (Incorrectly in German dubbing versions: "Action!")
  6. The scene follows .
  7. Director: "Thank you!" (Incorrectly in German dubbing versions: "Cut!")

The ritualization serves the general concentration at the location and the purpose is to save costs for film material by only the recordings of the film are recorded and not the preparations for the recording. Each shot is repeated until the director is satisfied with it.

Filming a crime scene

In addition to the actual film team that creates the main shots of the film (  unit ), there is a second team ( second unit ), which in turn comprises a full film crew with its own director, especially for more complex productions  . The second unit works independently, but in coordination with the director of the overall project and is responsible on the one hand for city and landscape shots , establishing shots and intermediate images, and on the other hand for lavish mass, action and stunt scenes.

The length of the shooting depends not only on the length of the film, but also on the number and type of locations. The shooting time for a 90-minute film in Europe is 12 to 100 days. In the USA, depending on the film project, a shooting time of 15 to 20, 40 to 50 or larger productions of 80 to 100 days is used as a basis for studio productions, although in other countries the shooting takes considerably longer. Because of breaks in shooting and subsequent shoots that are difficult to calculate, the number of days of shooting is usually set higher than actually necessary.

Follow-ups

When using analog cameras, the exposed material from the previous day is viewed by the director, cameraman and producer to determine whether recordings need to be re-shot. With digital cameras, the so-called patterns ( dailies ) can be viewed  immediately after the recording. If the material has proven to be inadequate or faulty, a re-shoot will be carried out on the day of shooting (digital) or on the day of the sampling (analog).

Shooting after the entire filming process has been completed is less common because material has subsequently turned out to be unusable or additional shots are required, for example because defects in the narrative structure become apparent after the filming. Other reasons for the need to re-shoot afterwards are, for example, the production company's wish to make a film more commercial, or the consideration of actors whose performance was insufficient or who do not fit the project afterwards and have to be replaced.

Web links

Wiktionary: Filming  - explanations of meanings, word origins, synonyms, translations

Individual evidence

  1. ↑ Project development  - pre-production  - shooting  - post-production  - film exploitation . Based on Josef Steiff: The Complete Idiot's Guide to Independent Filmmaking . Alpha Books, 2005. pp. 26-28.
  2. ↑ Filming ( Memento of the original from June 30, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. in the glossary of the German Film Academy . Last changed on November 17, 2011.  @1@ 2Template: Webachiv / IABot / www.vierundzwanzig.de
  3. ^ Theo Bender: Production, Pre-Production, Post-Production . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  4. ↑ Theo Bender: manager . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  5. ^ Theo Bender: Production Manager . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  6. ^ A b Ansgar Schlichter: Production report . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  7. ^ Heinz-Hermann Meyer: Dope sheet . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  8. ↑ Connection ( Memento of the original from June 30, 2013 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. in the glossary of the German Film Academy . Last changed on September 15, 2010.  @1@ 2Template: Webachiv / IABot / www.vierundzwanzig.de
  9. ↑ Ansgar Schlichter: Sound report . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  10. ^ Matthias Christen: Still photo . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  11. ↑ a b Daniel Möhle: location . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  12. ^ Hans Jürgen Wulff: On location . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  13. ↑ Ansgar Schlichter: Exterior shot . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  14. ↑ a b c James zu Hüningen: Permission to film . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  15. ↑ Permission to film ( memento of the original dated June 30, 2013 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. in the glossary of the German Film Academy . Last changed on October 7, 2009.  @1@ 2Template: Webachiv / IABot / www.vierundzwanzig.de
  16. ↑ James zu Hüningen: shooting schedule . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  17. ↑ Shooting schedule ( memento from April 29, 2014 in the Internet Archive ) in the glossary of the German Film Academy . Last changed on October 15, 2008.
  18. ↑ James zu Hüningen: Production breakdown . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  19. ↑ James zu Hüningen: Disposition . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  20. ^ Ansgar Schlichter: Principal photography . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  21. ↑ Ansgar Schlichter: Start of shooting . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  22. ↑ Film rehearsal ( memento of the original from June 30, 2013 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. in the glossary of the German Film Academy . Last changed on November 3, 2008.  @1@ 2Template: Webachiv / IABot / www.vierundzwanzig.de
  23. ↑ a b Ansgar Schlichter: Start of recording . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  24. ↑ a b James zu Hüningen: Second unit . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  25. ↑ Ansgar Schlichter: Shooting time . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  26. ↑ Ansgar Schlichter: Shooting days . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  27. ↑ James zu Hüningen: pattern / pattern . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.
  28. ↑ James zu Hüningen: Follow-up . In: Lexikon der Filmbegriffe, edited by Hans J. Wulff and Theo Bender.