Sometimes all of the above.
For certain types of shots, recognize when more is better and communicate that to your crew. For example, more gore, more blood, more vomit, more air coming out of the wind machine.
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For certain types of shots, recognize when more is better and communicate that to your crew. For example, more gore, more blood, more vomit, more air coming out of the wind machine.
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You might think having a setpiece that consists of video monitors tracking action all over a location is a cool thing, and in a lot of ways it can be, but think of each one of those video feeds as a completely separate short movie you have to make before you make the movie.
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The night before a shoot, check all costumes, props, locations, actors, gear, food, and crew. make sure everything’s ready. Make sure batteries are charging, tapes are striping*, etc.
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Don’t spend all your time getting the master shot. A master shot is important, true, but you need to get coverage, other angles, lots of things for your editor to use.
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Always lock your car doors when you go on set, and keep valuable hidden. Better yet, keep valuables either at home or on your person. Sure, it’s a closed set, and sure, everybody’s buddies, and sure, there’s Security keeping an eye on everything, but still. Lock your car.
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Actors should never be allowed to take costume gear off set. You don’t have to keep their clothes hostage, but it can help.
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Everybody working lights should get a pair of gloves. Even a cheap-o dollar-store pair of gloves is better than nothing. Lights can get very hot and you don’t want second-degree burns becoming a “badge of honor” on your sets. Spring for gloves.
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Continuity’s even more important: Dinner scenes are really, really challenging because you have to make sure chicken legs don’t magically heal from one scene to the next. Pay close attention to who is eating what — or just plan to shoot around the plates.
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