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Pre production of films1/12/2024 ![]() The director of photography needs to worry about camera placement and gathering appropriate footage that the editor can use.įor instance, the camera crew has to adhere to the 180 degree rule, otherwise editing becomes much more difficult. A lot rides on this, including consistent performance from the actors and continuity of props, costumes, hair and makeup, actor placement, etc. One of the biggest problems facing filmmakers is whether or not the footage they shoot will actually cut well together. ![]() and the editor can add their expertise during the storyboarding stage to ensure the proper footage is acquired during principal photography. Storyboards are made either by hand-drawing them, using computer-aided programs like FrameForge 3D or taking still photographs to replicate what will be shot on set. Traditionally, the shots are planned by the director through developing a shot list and then commissioning storyboards to illustrate those shots. All films will benefit if the editor is involved in the early stages of planning, working with the cinematographer so that both are on the same page about how the director wants the story to unfold visually. ![]() They know how the pieces fit together to effectively communicate dramatic and emotional expression to the audience, as well as determining proper pacing of the story. However, if the editor participates in pre-production, then he or she has a clear sense of what the director wants in the final film.Įditors are storytellers, but from a technical end. Oftentimes the editor sees the footage for the first time while watching the dailies and then must make sense of all the disparate images they receive. If the editor participates with developing the shot list, he or she will have a clear understanding of what to expect upon delivery of the footage. will know how long certain shots will take to set up and can schedule accordingly. must work with the director to know what style of filmmaking they should use in the making of their movie, as well as how to plan the day-to-day activities. Planning the Shotsĭuring pre-production, the D.P. An editor brings in objectivity to post-production and can “ kill the darlings” - cutting shots and scenes that the director can’t bear to part with but need to go for the sake of the film. will carry out the director’s wishes with lighting schemes and angles, but can also offer a second set of eyes to make sure all of the technical aspects of the shots are completed while the director focuses on the overall picture, including talent, art direction, continuity, etc. However, it is better to have different people serve as the D.P. Some low budget filmmakers prefer to do one or both of these jobs in addition to directing, as it saves money and resources and is often perceived as preserving the director’s vision. However, the one phase where they should collaborate is pre-production, which Alfred Hitchcock considered to be the most important stage of filmmaking. shoots and the editor takes the footage and turns it into a movie. It seems that these two critical jobs would not overlap-the D.P. The final product is in the hands of the editor. On larger productions, you’ll have an entire team of people handling picture edit, sound and color grading, but on smaller films, you may have a single person responsible for all of the post-production. During principal photography, the editor’s main responsibility is to organize the dailies and sync the sound. The editor, on the other hand, mostly works during post-production by taking the shot footage and making decisions on how to best put the project together. The cinematographer’s primary responsibility occurs during the principal photography stage of production, but they must also spend a great deal of effort during prep and may even oversee the color grading during post production. might be the sole person responsible for lighting and may also act as the camera operator. The cinematographer, also known as the director of photography (D.P.), is responsible for photographing the motion picture and overseeing the camera crew and lighting team. If you’re more of an industry vet jump down to the next section, “Planning the Shots”. Let’s get the basics out of the way first, and look at what each of these positions does. Two of these key personnel on any movie are the cinematographer and editor. Directors rely on their crew and must coordinate the efforts of each person, in particular the department heads, in order to see their vision to fruition. It doesn’t matter if you’re shooting a $250 million blockbuster or a micro-budget short, filmmaking is a collaborative art form. Although the cinematographer and editor work in different phases of projects, by collaborating early, their synched efforts will result in a better final film.
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