Yes, we got 91 set-ups1 in 3 days. That’s about 30 a day. The 6 day show had 106 set-ups. Bottom line is we got a shit-ton of shots.
And this was despite company moves, lots of extras, a tired crew, and broken/missing equipment. The odd thing is no one brought up any objections or said we were crazy when we submitted the shot list, unlike my 60 set-up F3 that made my Director of Photography think I had lost it (we got the shots and wrapped early).
I think the main weapon that allowed the Director and I to get the shots was preparation. We storyboarded everything together in Frame Forge and had print outs of the boards on set. This way we could easily refer to a shot and communicate visually what we wanted to the crew and with each other.
I also used minimal lighting and kept the camera on the dolly when possible for easy repositioning.
It doesn’t seem like another show will pass the 91 (the other 6 day show has 80 planned), unless I manage to think of a few more for my movie. Apparently I just have a thing for lots of set-ups
Ten cans of film have been turned in after the longest producing job I’ve had yet - six days of summer thesis kick-off. You get three days to shoot your thesis film, or you can team up and double your resources as the DP and Director did here and shoot for six days with twice the film.
I wanted to jump on this producing opportunity since this was one of two doubles that are shooting, and the other is a Producer/Director pair.
It was fun, and I love the people I worked with, but as far as producing challenges go, there were very few. The main reason was most of production was on a set in the soundstage. So that meant hanging out in the green room. For five and a half days.
There was a lot of craft service munching (I got Krispy Kreme donuts the last day as a treat). A lot of bored crew making ridiculous requests (”Make me a peanut butter and jelly sandwich with a glass of milk.” I got them Uncrustables). And a lot of down time.
I finally had a chance to read a good part of Michael Eisner’s Work in Progress, but more importantly, I finally got into Lost. I should probably be careful with what I say, now that I’ve learned the Dean reads my super secret and anonymous blog. But just as a disclaimer, I set everything up to be self running and I wouldn’t let Lost get in the way of my main priorities.
I had always wanted to get into Lost, but I was reluctant because what I feared would happen, happened. I became so addicted I just kept watching episode after episode. I watched all of season one in about two days (there was a one day hiatus in between).
It might sound crazy, but my favorite day was Monday because it had the most problems and challenges. In the morning, a stream of crew members brought a variety of broken equipment to my attention - TAP doesn’t work, we were never given HMI lights, no one can locate the piece of half-dolly track, the boom pole is broken, the lenses to lights are cracked. Fixing these problems allowed me to feel like I was doing something (besides watching Lost).
Monday was also the only day we were on location in Gallie Alley. I had already set everything up and gotten the proper releases, but by coincidence it couldn’t have been a more perfect day to shoot than on Memorial Day.
Downtown is very lacking, and generally runs on business days during work hours. Since everything was closed, our group of background extras could easily take over the seating in one of the outside cafes.
And by setting up craft services at the cafe, it allowed me to completely forget I set up our own craft service table down the side walk. At the end of the day, we left without it. When I went to set it up the following day for lunch, I realized what I’d done. I sped back to downtown, and found it exactly where I’d left it - in the middle of the side walk.
I still enjoy producing. My next and last producing job should have a few more challenges. It involves forests and horses. But in the meantime, it’s time to get back behind the camera and DP Murder in a Mini-Skirt.
Here’s a story that combines a little six degrees of separation with a hint of networking. I was having dinner last night with my mom at Oriente on Ocean Drive. Across the street, near the beach, we noticed some giant tents set up - looked like some sort of party. But I noticed a sign that read ‘Crew Only.’ And then I saw one of the trucks had ‘MOO-V-FOOD‘ on its side. I knew what this was.
After an awesome meal of Sea Bass and Tuna Steak, we walked over to see if my mom knew the off-duty officer (She works at the police department. If you were wondering.).�
She did, and the Captain informed us this was craft services for Confessions of a Shopaholic. They were shooting �a few blocks away, and he told us we should check it out.
We went over to Espanola Way, where they were filming. I didn’t see any big grip trucks on the street, but as soon as I saw the power cables leading in I knew this was the spot. Just follow the cables.
Before I knew it, we were right in the middle of the set. No barricades, no PAs stopping us, no “Hot Set” signs. I didn’t even see that many crew members. I felt like I could have been on a Film School set (except for the Panavision camera, Fischer dolly, and giant Airstar lighting balloon, pictured above).
Our friendly Miami Beach Police Captain later joined the set, along with the President of Film Florida, who happened to be at a Florida Film event I went to at the Capitol a few weeks ago.
The Captain informed us that this was the most disorganised shoot he’s ever seen. This was their last leg. It was supposed to be a 14 week shoot. This was week 16. The original budget was around $40 million. Now they’re up to $70. The entire crew and equipment was brought in from New York.
In my mind this makes me cheer for the Film School and all the well run sets I’ve been on, as well as hope that we’ll survive, and hopefully thrive, once we’re in the real world.
But here’s where six degrees comes in. Burn Notice films in Miami, and the Captain works off-duty for that show as well. After my mother did what all proud mothers do, and inform everyone within ear-shot that I’m in film school, the Captain got me in touch with Melanie, the Location Manager for Burn Notice, to see if I could be a PA.
I gave her a call. She was super nice, but thought I was in Miami for the entire summer. Since I’m only here for a few days, getting on the payroll would be tough ($125 a day), but she invited me out to the set this Friday to go around and meet everyone. They’ve converted the Coconut Grove Convention Center into a sound stage.
To add one more degree to this story, they’re shooting next to Marley & Me, which is wrapping Friday, and the Key Grip on that show is a Film School grad. So Friday should be a pretty awesome day.
Now I need to work on my “What do you want to do?” response and educate myself on Burn Notice.
Yes, we got 91 set-ups1 in 3 days. That’s about 30 a day. The 6 day show had 106 set-ups. Bottom line is we got a shit-ton of shots.![[del.icio.us]](http://coffeeandcelluloid.com/wp-content/plugins/bookmarkify/delicious.png)
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Our friendly Miami Beach Police Captain later joined the set, along with the President of Film Florida, who happened to be at a Florida Film event I went to at the Capitol a few weeks ago.
