Film Production Expert » Music video

How to Direct a Music Video

Dwayne B. Perryman — Mon, 16 May 2011 01:04:03 +0000

The one thing to remember…

Directing – is an exact science…based around your artistic taste.

What you will read – is a formula to guarantee a successful project while focusing on your creative angle.

TOOLS OF THE TRADE

3 large 4X8 black/white pieces of foam core. This is to hang up your visual work – storyboards – cast heads.
A can of Spray Mount spray
Note book of notes – with extra blank paper.
A storyboard booklet. This will be your boards in shooting order.
A shooting Schedule booklet
A working phone for the entire production.

STEP 1:

Lock in your style. Lock it in your mind. For ME – each project has a new look or creative feel…with the undertone of my style.

When you have the opportunity to write a treatment idea for an artist – make sure to do complete research on that artist. Make sure you implement these flavors of their lifestyle – that will attract the audience that they are aiming for; into that treatment. You can be as creative as you want to be but you have to marry these factors together. Remember you are being paid for your artistic form – like Mozart. Make it a piece of art.

Once the Artist/Manager/Record Label approves your vision for the track – and all paperwork is done and contracts are signed –

STEP 2:

Put the team together.

Like Mission Impossible – go through your Production Team files and select the best people to pull off the project with the budget allotted. I like to keep 6 key team players on file.

KEY TEAM PLAYERS

PRODUCER – DIRECTOR OF PHOTOGRAPHY – ART DIRECTOR – WARDROBE STYLIST – ASSISTANT DIRECTOR – EDITOR

PRODUCER

This is your production back bone. Everything you need rests on this person. You need a helicopter…talk to your producer. You need a screaming chipmunk…talk to your producer. But – never, never, at any point – should your producer pigeon hole your creative style. You’ll know this when your producer says to you “You don’t need that”. The only person who should ever tell you – “you don’t need that”, is your Gaffer – because he/she can substitute lighting to get you your effect. But the producer can tell you what you can not afford.

Your Producer should:

Work out all logistic with the budget. Your cut (10%) of the whole budget, the Production Company’s Fee, and the other money break downs.
Make sure all contracts are signed.
Hire all crew and staff needed for the project. You can tell him/her who you want on the project and they have to work out the numbers with them.
Become the liaison between Director and Record Label.
Arrange all meetings and Casting dates.

Crew directly under the Producer are: Production manager, Production Coordinator, and PAs

DIRECTOR OF PHOTOGRAPHY

This person is so very critical to your project. He/she needs to be very creative and professional. No matter what happens during your production the final visual look is what is going to matter – to clients, the artist, and you. Remember – each project is a stepping stone to the next project – make each one shine.
Make sure the DP has an understanding of your visual feel. Example – I once told a DP I want a dark – moody look – but instead he gave me an under exposed – grainy looking piece.
They should know their F/Stops. I come from a background of shooting in film so I became very picky about film stock. For daylight shoots I would use a 200 speed film and for night time shoots I would use a 400 speed film. Today most people are shooting on HD – which is cool – but the DP still needs to have his F/Stops down. For me – I like the DP to go one F/Stop up from what his light meter is reading – because – in Post – it is easier to make something a little darker – than to make something a little lighter– which will give you a grainy look in your music video.
It is also important to select to a DP who can fit your needs. Example – there are extreme DP’s – who will film going backwards – down a mountain – on a set of skis – to capture a skiing scene. Love them.
Sometimes it is great to find a DP with his own equipment – to help the budget.

Crew directly under the DP – Assistant Camera, Loader, Gaffer, Key Grip

ART DIRECTOR

Don’t ever underestimate the importance of this person. This is your physical – on camera – visual – scenery creator. On some locations – there may be scenery needs – to make an area pretty or different. “The glass in that window is too dirty” – they would clean the glass and make it workable for the Director. “I need this phone booth to be shinier” – they make it shinier. “I need these 3 blocks to look like a 1930’s winter scene” – they would find a photo from that time and change the blocks to match it and get the fake snow making machines to create the winter feel.

Crew directly under Art Director – all Prop Departments, Builders, all Set Dressers.

WARDROBE STYLIST

This person works closely with your sense of clothing – for the Artist and the project.
Many times the Wardrobe Stylist is in direct contact with the talent on the project – for look, sizes, and feel.
It’s good to have someone in this position that has a finger on the latest trends and looks.

Crew directly under the Wardrobe Stylist – all Wardrobe Assistants

ASSISTANT DIRECTOR

This person is critical for the running of the set during production.
For me – I like to use the same person – because they know what I expect to get out of my shoot days –and how I move.
For more information on this duty please read my blog: ‘How to Assistant Direct a Music Video’.

Crew directly under the Assistant Director – 2^nd Assistant Director, Casting Director, PAs

EDITOR

This is the person to help incorporate the visual rhythm of the piece.
For the Off-Line – the Editor should have a portable editing system – like a Mac book Pro – notebook computer – and know how to use the software.

STEP 3:

PRODUCTION SCHEDULE

The Production Schedule happens in 3 phases:

Pre-Production – Production – and Post-Production.

Depending on the size of the project a maximum Production Schedule is:

2 weeks of Prep – 2 days of Shooting – 3 weeks of Post. It is not always like that. You may have only 3 weeks to do the entire project – which is then a challenge.

PRE- PRODUCTION

You, the Director, should have a minimum of 7 major meetings:

1) Artist/Label Meeting, 2) Production Meeting, 3) Full Production Meeting #1, 4) Casting, 5) Location Scout, 6) Full Production Meeting #2, 7) Artist Wardrobe Fitting and Rehearsal.

Sometimes 2 meetings could happen in 1 day.

The days in between these meetings, you the Director, should be focusing on your artistic – visual execution of this project. Doing storyboards, looking at reference material, etc; gaining momentum on how the artistic look of this project is going to come out.

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(NOTE) The calendar days listed on the meeting dates are given to you as an example of how the week would run if your production started on a Monday

1) Artist/Label Meeting – Monday Day 1 of Pre-Production

This happens before contracts are signed and the artist wants to meet you – based on your treatment. Be aware they are doing a music video of this

artist, to sell records, to make money. Don’t go so off the mark with your style that you neglect their needs.

At the record labels, Creative Directors and A&R people have worked on the selling of this artist for months even before you came on board. They have a set market in mind that will be their buying audience. This can happen in your production office or at the record label. Only you and the Producer should attend. Do research on label and person. Remember – with these people you’re still building relationships – so be cool. Once artist arrives – don’t be nervous – be confident. When talking be slightly excited about what you are going to capture from them. Listen to their points and input. Be Aware: I have lost jobs – because of those meetings and not having my act together.

2) Production Meeting – Monday Day 1 of Pre-Production

The Director and the Producer go straight from the last meeting into this meeting.
Here is where the Director sits with the Producer and discusses the logistics of the project.
Here – the list of team players are assembled to see who’s available to work within the time frame and with the budget.
The producer begins to make actual calls.

3) Full Production Meeting #1- Wednesday Day 3

Here is where the key players are physically assembled to discuss their professional usage to the project.
Wardrobe – discuss the clothing look. They are given money to go shop and to send photos of the things they like – to the director.
Art – discuss the art design and props needed for the project. They should constantly send photo updates of their progress – to the Director.
DP – discuss shots – angles – shooting format (Film/HD) – and lenses.

4) Casting – Thursday Day 4

For details of this duty please read my blog: ‘How to Cast a Music Video’.
The Director doesn’t need to be at the casting – but once it is done – the casting director meets with the Director to show him/her the talent that arrived.
The director makes his/her selections and sends this information and the other casting information to the artist/Record label – for them to make their selects.
It takes a couple of days for everyone to agree on the talent – but once talent is selected – post those faces on the 1^st piece of 4×8 foam cord.

5) Location Scout – Monday Day 8

By this point – you the Director – should have created storyboards and reference photos to guide everyone – for the execution of the production – on their dates. These storyboards are posted on the 2^nd piece of 4×8 foam core.

Never be late.
Everyone there is gathered to help the Director accomplish his/her vision.
The key people for a location scout are – the Director, the Producer, the Assistant Director, the Director of Photography, the Gaffer, the Key Grip, and the Art Director.

HERE’S WHY:

The Producer tells the Director “Here’s the location you got”.

The Director tells the DP “Here’s what I want to shoot.”

The DP tells the Gaffer “This is how I want to light this.”

The Gaffer tells the Key Grip “This is how I need to rig the lighting.”

The Art Director tells the Director “This is how I see the art working.”

Everyone tells the Producer “This is what I need – to do this.”

And the Assistant Director is to make sure all of this happens – on set.

At the locations look for: the best possible area to capture your vision.
Compare location to the images you saw for the music video.
Make sure the AD has selected – a holding area for the production team, a holding area for talent, an area set up for hair/make-up and wardrobe, a camera set up area, a craft service area, an area for lunch, the actual filming area, and a area for crew to store equipment and still operate with out interfering with the filming.
If need be have AD draw an overhead diagram of the entire area and place these groups in them.
Check out power supply. This is important for the Gaffer because a generator may be required if there is no power supply to tie into.
And lastly – make sure everything looks safe and will be safe. The Assistant Director is totally responsible for all the crew and talents safety on the set.

After the location scout – back at the office – the Director and the Assistant Director have there 1^st official meeting.

Director presents treatment and storyboards.
Assistant Director does a shooting schedule and break down taking the storyboards and the treatment and cut them up in the order they can be shot. Elements that help you design your Shooting Order are: the environment the Director needs to be in, talent for those shots, estimation of crews set up speed, the props needed, and how close to meal time you will be.
Assistant Director then makes a booklet based on all of this information with the storyboards and treatment. He also pastes this information on the 3^rd piece of 4×8 foam core – to be used on set.

6) Full Production Meeting #2 – Wednesday Day 10

Everyone is assembled again – with the Assistant Director. The DP does not need to be there. Make sure your team is on your page and moving to your beat. You – the Director – should have kept your department heads informed and they should have kept you up to date with all information. You will know when a team player isn’t on point…because you will be worried about their job – instead of working on your creative. Cut them off immediately and get someone new.

Producer – Confirms all things are flowing – according to plan.

Making sure everyone is doing their part to bring the project together

Check – are we still on budget? Everyone and everything needs to get paid for – but the Director is always striving to make a profit.

Confirm Director getting to location.

Confirm Director’s 3 pieces of foam core are getting to location.

Make sure the final music has been transferred to Dat tape – which will be the numbers rolling on the Smart Slate – during shoot. If you don’t do this – you will have a slight problem when you get to the editing portion of your project.

Know exactly how much film you have to shoot with. This makes your shooting selects more critical – on set – because you’re limited to the number of takes you can get. If shooting in HD – the editor needs to be on set to download footage from each memory card.

Wardrobe - brings actual clothes to be viewed by the Director

DP - By now should have confirmed that all equipment is ready and standing by for pick up.

ART - brings photos and actual props for Director to see

AD – make sure everyone has there call times and are called.

Discuss Director’s placement on location during shoot. Director say, “This is where I’m going to be – make sure I have my bubble – only the necessary people should come close to me”.

Discuss artist treatment – client treatment – on set. “When I go to talk to clients – stay on set. When I go to talk to artist or department heads – you need to be by my side”.

Make sure production has television monitor for shoot.

7) Artist Wardrobe Fitting & Rehearsal – Wednesday Day 10

Everyone stays from the last meeting.
When Artist/ Record Label arrive – make them feel comfortable.
Have something for them to eat and drink.
Go over all the latest logistic of the project.
Have Artist try on several different sets of clothing and match which ones will look best in the different environments of the music video. Take photos.
Have a different area set up – a blank wall – with camera and lights. You are doing this to capture different angles of the artist – and to see which ones capture them best. If it’s a band do individual shots of them – to see what they are doing – at which point in the song.

(NOTE) Tell the Artist – “You don’t have to belt out the song with your full voice – but give me the emotion in your face – as if you were”.

At the end of this day – this should leave you 2 whole days to fix any problems –before the shoot dates.

What makes a successful Director is to estimate everything that could go wrong before the shoot – and fix it – so that it doesn’t.

PRODUCTION

SHOOT DAY

As the Director – have AD and Production Heads – arrive on set 1 hour before you.
Never be late.
Once on set – check with AD about the progress of getting the 1^st shot ready. The AD makes everything run – but you, the Director should walk around making sure everything is getting ready. The AD should be standing next to you when you approach department heads. “So how long before this is ready?”
Have the crew and talent move to your pace and have that pace be fast. For music videos – you only have a certain amount of time to capture the desired shots so be the driving force to getting those shots.
Make sure camera is being assembled in camera department. If shooting in film – make sure camera has a dark area for the changing bag. Your footage can be exposed and ruined if there isn’t a dark area for them. If shooting in HD – make sure Editor is setting up for memory card down load.
Make sure Art Department is setting up for 1^st shot.
Make sure Hair, Make Up, and Wardrobe are getting set up and ready for talent.
Make sure Grips and Electrics are loading in while setting up for the 1^st filming area.
Make sure Audio/Sound is setting up and knowing what cues are first.
Have your Directing area set up: foam core – with shooting storyboards – in order. Have each 4×8 piece of foam core – attached to individual grip stands.
Go over the storyboards and shooting schedule with the Director of Photography and make him/her feel comfortable and on the same page.
Once Artist arrives – get them to their holding area immediately. Without embarrassing anyone – pull talent to the side and give them a Tic-Tac. Explain: “This is your day – your shoot – and you should smell good. You’re going to have extras and talent all around you. You may even have a kissing scene.”
A Problem – this can happen. Your Main talent is smoking pot in their holding area and it’s affecting others.

1) have air freshener spray handy and spray often. Not in their holding area but everywhere else.

2) Tell them – police frequently visit the location – because they know the owner.

Don’t get me wrong – some talent thrives on this – so be diplomatic.

To smooth this over – is for them to see the creativity you’re bringing to the music video set and for them to see your control of the set. They will take it more seriously – and cut back. Get them into Make Up and Wardrobe ASAP.

The Posse – which usually travels with the artist – can be useful. Find one you can trust – and have them help you get the Artist to the shooting areas – when needed. If they are unruly – explain: “Their pressure and behavior is an insurance liability. I am contracted to film you – anything else – is a liability.”

Once 1^st shooting area is set up:

THIS SHOULD TAKE NO LONGER THAN 2 ½ HOURS – FROM YOUR ARRIVAL ON SET – TO GET HERE.

Set up your monitoring area – with chair and monitor of the scene. Create your bubble – where only the DP and AD can talk to you. Have other chairs around – because no one, and I mean No One is to sit in your chair. That is your – 0:0:0:0 space for this project. Some times an artist sits in your seat. Whisper in their ear “Dude I need this seat clear. I’m not trying to power trip but all control and ideas for this music video – for today – comes from this chair. I need a chair over here!” Get other chairs for them to sit in.
Have AD get talent in place.
You, the Director, need to do 2 rehearsals looking into the monitor.

Rehearsal 1): look at the Artist’s performance. Tell them again they do not have to belt out the song with their full voice – but give you the emotion of that part of the song.

Rehearsal 2): eye the set and props behind and around the artist.

Fix any Art problems.
Look over to Camera department and know how much film or memory card space you have.
Roll a take.
The Assistant Director – holds up the time code smart slate and says “Roll camera.” The Assistant Camera man shouts “Speed” once the camera is rolling. The AD next shouts – “Roll sound.” The numbers on the smart slate start to run and the AD reads out the artist’s name, title of the track, and the take number. Make sure the camera picks up the images on the slate. The AD slaps the slate close and gets out of the way.
Once everything is settled – you, the Director yell “Action” when the Artist is ready.
Look through the monitor to make sure you are getting your desired shot.
Make sure client has access to viewing monitor – while you shoot. Make them feel comfortable and that their talent is looking cool.
Within every shooting area – you can do many different angles and shots – making sure you get the most out of this area.
On the set – there are going to be people with suggestions on how something should be shot. All suggestions must come through the AD. He/she is your pipeline to other voices trying to get to you. Think of these suggestions and apply: Do they work? Does it interfere with my vision? Do I have time to do them? Tell AD – “Tell them, I’m thinking about their ideas, and maybe if I have time, I will shoot that, but I have to capture what I agreed with in the contract – for now.
Be aware when lunch is coming – squeeze in what ever final shots you have to capture – put don’t go over lunch break time. Department Heads are strict with giving their people the proper break time. If you need a few extra minutes to do your shots is cool – but an hour is not.
Make sure lunch is going to be served on time. It’s usually 6 hours from the crew call’s time on set.
Check with AD about – is the next shooting area being set up.
If you have the equipment and crew ability, have some crew members

break away and start setting up the next location.

If the company has to travel to get to location, make sure everyone who is suppose to ride in the transportation vehicle, are all accounted for and present.
Constantly check with camera department about film or video card supply. You don’t want to run out.
After filming and all shooting is done in that area – take a red Sharpie and cross out your shooting storyboards on the foam core.
The main goal is to be in as many shooting areas as possible – to complete your vision. Stay on schedule and make sure the AD is staying 4 steps ahead of everyone – in getting the next shot done.
Call Lunch – on time and the last crew member on line – to get his meal is when the break really starts. If you see lunch starting to run overtime – notify the Director, the Producer and the Department Heads. Arrange next move but make crew and company comfortable.
Repeat shooting process until dinner break – if any.
An added comfort for the set – is to have the Craft Service PA walk around with appetizers – offing crew and talent a warm snack.
If you see shoot running overtime – notify the Director, the Producer and the Department Heads. Arrange next move but make crew and company comfortable.
Let crew know when you are at the ‘Martini Shot’ – which is the last shot of the shoot day.
Make sure Artist is comfortable with what was shot.
Make sure everyone hears “That’s a wrap!” when you are done shooting for that day. The Director will call it -but make sure it is known to everyone.
After shooting day is over – shake each and every person’s hand and thank them. They helped you capture your vision.
By the end of the day – 90% of your storyboards – for that shoot day – should have a red cross through it.
The Director and the Assistant Director does not have to stay on the set until everything is packed up. But – the AD must assign a PA to help clean up everything and restore the location to normal. The Producer is the last to leave.

IMPORTANT: If your shoot was in film – get your most reliable PA to drop off film reels to a Telecine House and have footage prepped for video.

POST PRODUCTION

The day after the shot make sure the Producer is having everyone do their Wrap Folder – with receipts taped to paper and any Petty Cash – which was given – is handed back in to Production.

FILM TO TAPE TRANSFER

After footage has been prepped – a couple of days later – now it’s time for your Film to Tape transfer. There are post houses with equipment to run your film thorough it and help you lighten, darken, or even color correct it. You are here to prepare your footage into the editing format you need – either Beta, ¾ inch, DVD, or right into your hard drive.
I like to make all my footage beautiful – in one sitting – so as the Artist and Client receive rough cuts – they’ll see the beauty. Some Directors like to do the transfer after the piece is edited – so only the needed footage is done. This can save you money.

EDITING

OFF-LINE

Have time code music downloaded into editing system.
Have your editor down load the transferred footage into their system
Create individual bins – on the editing system – of the footage for easy access. MEANING: each performance environment – becomes a bin. Each different angle in this environment – becomes sub-bins – within the initial bin. Pick up shots, cut away shots, and extra shots – become their own bins.
What I like to do is lay down one performance clip – over the entire time code music track. Next – start adding other footage on top of that – keeping the images in beat with the song.
Find the best moments/ performances of the Artist.
In 1 ½ weeks of time you should have a solid edited music video waiting to be viewed by the Artist and the Client. Send them your 1^st rough cut.
Make sure there is a visual – time code bar running through out the edited piece. This helps Artist/Client – pinpoint where they may want changes. This also helps from anyone taking the rough cut and airing it on television.
It should take a couple of days for them to get back to you. They will have changes so write them down. You can disagree with some of their changes – but do what they ask you to. See it from their prospective. You can later create your own Director’s cut – but the main objective is to get as much as your visual talent on their viewing platform.
Changes should take no longer than a week to do. In 3 weeks time – from end of shot dates – you should be completely done with editing. Send final rough cut to Artist/Client.
Once Artist/Client agrees with final edit…

ON-LINE

This where you take the Master Beta material of the raw footage – back to the Post House – where they assemble – the selected shots to match your edit. This is done quickly with an EDL list. This list tells the machine – from which bins the selected material is taken from.
When On-Line is done – make your Director Master Copy – which is usually Beta. Put that in your Production Library for future use and copies.
Deliver completed music video – on format requested by Artist/Client. All material and film belongs to the Client.

Start prepping for the next music video.

REWARDING

Here’s one of the best parts – as you relax at home – or working on the next project – your music video appear on television. Many music videos appear on You Tube – but it’s nothing like seeing your work on MTV, VH1, or one of the main music video channels.

FINAL NOTE

Believe in your art

Believe in your craft

And execute it accordingly

Happy Directing

How to Assistant Direct a Music Video

Dwayne B. Perryman — Tue, 06 Apr 2010 02:17:54 +0000

Being a successful Assistant Director takes strong orgazantial skills and people skills.

With a music video – the main goal is to capture the Artist – in his/her best moments – of performing the song.

As the Assistant Director – on the set – you are the 1^st mate to the Director who is the captain, making sure the director gets all the shots he/she needs. It’s a big responsibility…so take it serious.

PRE-PRODUCTION

Meeting the Director and the Producer

KNOW YOUR DIRECTOR

The Director – will have a certain flair, of how he or she sees capturing shots.
Get the treatment and read it thoroughly. Know what’s expected to be captured.
Many directors will have storyboards they want to follow. Be aware each storyboard may have different shots and angles in them, so there may be more footage to capture within each drawing.
Discuss how you see the flow of the set running. A seasoned director will understand and appreciate your approach.
The director is relying on you keeping the set moving even when he/she is going bonkers.
On music videos the artist is the main attention. Conform everything around their needs and blend the director’s needs – into that.

KNOW YOUR PRODUCER

Get your pay clarified immediately. Don’t be greedy with your pay desire. You should get paid for pre-production meetings, location scouting, running the actual set of the shoot day, and any post-production needs that arises.
A fair price is $200 a day for pre-production stuff and $400 for the shoot day.
In the producer’s eyes you are the running man/woman who is going to insure the director gets his shots, crew is moving and setting up, talent is been used as need and lunch and dinners are called on time to prevent any meal penalties.
Are there children involved? With children there are sensitive issues that need to be addressed. When working with children – there are filming schedules that need to be regulated and followed. Always make sure the parent or guardian is always present.
Find out if your 2^nd Assistant Director is handling talent or is the casting director handling that area of production.

TOOLS OF THE TRADE

A fully completed production booklet with all names and numbers of people working on the project. Get it from the producer.
Your storyboard booklet.
Your shooting Schedule.
An AD kit – full of all production forms.
A working phone for the entirety of the production.

LOCTION SCOUT

Never be late.
Your job is on right here. Get all respected parties into the cars or what ever transportation there is. Have a check list here.
Make a mental note of who is late – and keep that information in your head as a possible future problem.
The key people for a location scout are – the Director, the Producer, the Assistant Director, the Director of Photography, the Gaffer, the Key Grip, and the Art Director.

HERE’S WHY:

The Producer tells the Director “Here’s the location you got”.

The Director tells the DP “Here’s what I want to shoot.”

The DP tells the Gaffer “This is how I want to light this.”

The Gaffer tells the Key Grip “This is how I need to rig the lighting.”

The Art Director tells the Director “This is how I see the art working.”

Everyone tells the Producer “This is what I need – to do this.”

And the Assistant Director is to make sure all of this happens – on set.

At the location look for: holding area for production, holding area for talent, a area set up for hair/make-up and wardrobe, camera area, craft service area, an area for lunch, what is the actual filming area, and how can crew store equipment and still operate with out interfering with the filming.
Draw a diagram of the entire area and place these groups in them.
Check out power supply. This is important for the Gaffer because a generator may be required if there is no power supply to tie into.
And lastly – make sure everything looks safe and will be safe. The Assistant Director is totally responsible for all the crew and talents safety on the set.

ASSISTANT DIRECTING PROCEDURE

Once you have established all information with the director and the producer – start your Assistant Director set up.
Take the storyboards and the treatment and cut them up in the order they can be shot. Elements that help you design your Shooting Order are: the environment the Director needs to be in, talent for those shots, estimation of crews set up speed, the props needed, and how close to meal time you will be.
If there are going to be many vehicles and Winnebago’s – do diagram of the streets and place all production vehicles in their respected areas, and in order of importance – to keep the set running smoothly.
Make a booklet based on all of this information with the storyboards and treatment – cut up to your operating method. Also paste this information on a large piece of foam core to be used on set.

DAY BEFORE THE SHOOT

Call crew and talent for there call times needed on set. When I first started in this business I was so nervous calling people but as you go along you will realize how much respect and trust you gain for giving people their official call times.
Check off their names – which ones you talked to and which ones you left a message with.
Even remind the Director and the Producer of their call times.
Decide which Production Assistants are going to be your point people.
Make sure your fore core board is being delivered to the set.

PRODUCTION

Never be late. Have the crew and talent move to your pace and have that pace be fast. For music videos – you only have a certain amount of time to capture the desired shots so be the driving force to getting those shots.
As people arrive – walk up to them and introduce yourself and state your position. Shake their hands and find out their position. Do this with every single person. Crew members want to know who’s in charge and that’s you. Send them to their department heads and put a check mark next to their names on your crew sheet.
Get your PA point people in place. Usually 2. 1) Stays on Major Artist Talent 1) Does runs for the Assistant Director and keeps check ups on the department heads.
If the company has to travel to get to location, make sure everyone who is suppose to ride in the transportation vehicle, are all accounted for and present. Who ever is not there – give them a call and warn them of the time.
On Set – get craft service set up immediately. Make sure there is coffee for crew first thing in the morning.
Have grips and electrics load in while setting up for the first filming area – and give them a shooting schedule.
Get hair, make up, and wardrobe set up in their holding area – and give them a shooting schedule.
Make sure Production Team is set up and ready to handle all meal calls and any emergencies that may arise and give them a shooting schedule.
Make sure the camera department is setting up and knowing the first shots that need to be captured – and give them a shooting schedule.
Make sure sound department is setting up and has all the music and cues need for todays shoot – and give them a shooting schedule.
Make sure props and set people are setting up and knowing the first shots that are coming up – and give them a shooting schedule.
Go over the storyboards and shooting schedule with the Director and the Director of Photography and make them feel comfortable and on the same page.
When the main artist arrives – make them feel special. Have a special holding area just for them and their posse. Have a mini craft service in their area. Introduce the PA point person assigned to them.
Once all departments did their part to get the first shooting area ready notify the Director. Make sure all is well.

THIS SHOULD TAKE NO LONGER THAN 2 HOURS TO GET HERE.

SNAGS

- Hair and make up may not be finished. I usually give them 1 hour from the time talent sits in their chair.

- Camera may not be totally ready. They have a lot of parts to put together on the camera. I usually give them 1 ½ hours from the time of arrival on set.

Get talent in place
You – the Assistant Director – hold up the time code slate and say “Roll camera.”
The Assistant camera man shouts “Speed” once the camera is rolling”You say next – “Roll sound.” The numbers on the slate start to run and you read out the artist name, title of the track, and the take number. Make sure the camera picks up the images on the slate.
Slap the slate close and get out of the way.
The Director calls action when he/she is ready.
Mark down the time the first shot is taken.
REMEMBER – if you want crew people to move – you do not have to shout so much. Use it when you need it – or they will ignore you. Be professional.
Constantly check with camera department about film or video card supply. You don’t want to run out.
Make sure lunch is going to be served on time. It’s usually 6 hours from the call time on set.
If you have the equipment and crew ability, have some crew members break away and start setting up the next location.
Stay on schedule and stay 4 steps ahead of everyone – in getting the next shot done.
Call lunch on time and the last crew member on line – to get his meal is when the break really starts. If you see lunch starting to run overtime – notify the Director, the Producer and the Department Heads. Arrange next move but make crew and company comfortable.
Repeat shooting process until dinner break – if any.
Make sure to log down any and all times of the events on the shoot.
If you see shoot running overtime – notify the Director, the Producer and the Department Heads. Arrange next move but make crew and company comfortable.
Make sure everyone hears “That’s a wrap!” The Director will call it -but make sure it is known to everyone.
The Assistant Director does not have to stay on the set until everything is packed up. But – the AD must help clean up everything and restore the location to normal.

POST PRODUCTION

Make sure to fill out The Production Report for future references and information.
Hand in all production forms you have and you’re done and can move onto the next music video shoot.

A STORY

While working as an Assistant Director on a music video – the shoot took place in an abandon church. The Director wanted a group of children to dance on a balcony – on the third floor. As the action was going on – I noticed the balcony swaying from the children’s weight. The Director turned to me and asked “do you know who gets in trouble if this balcony falls?” “No.” “You are. You are responsible for everyone safety on the set.” I shouted “Cut. This shot is not happening.” It was too unsafe. The Director got pissed that he didn’t get his shot – but he understood my actions.

Happy ADing

How To Cast A Film

Dwayne B. Perryman — Sun, 14 Mar 2010 22:33:29 +0000

Casting a film is very different than casting a commercial or a music video. There are basic elements – like equipment – but it has a different variable.

Example

Casting a music video; the talent only needs to be available for the weekend of the shoot.

Casting a commercial; the talent needs to be available at all times for the agency to have total control of – when they need to see these people.

Casting a film; the talent needs to totally take on the project – because it can go on for months. It’s about the director, trying to tell a story, and finding an actor, who they both feel – is right for the part.

At the castings-most likely the Director is there at all times – to see if there is someone who is bringing the story to life.

PRE-PRODUCTION

Meeting the Director and the Producer

KNOW YOUR DIRECTOR

The Director – will have a certain flair, of how he or she sees talent – and with a film they have full control – unless it’s with a major movie company who wants to ensure sales- and forces a known actor. As the Casting Director – your job is to coordinate real acting talent that will blend together all these important elements – and people.

KNOW YOUR PRODUCER

Get budgets clarified immediately. The overall casting budget and talent budget.
Your casting budget includes: casting personnel, casting space, video camera, casting paperwork Polaroid film, expenses, and lighting.
Method of payment for talent in a film – works on a point system – as well as a bio-monthly or monthly payment. The points are worked out based on how the movie will do in the theatres.
Are there children involved? With children there are sensitive issues that need to be addressed. When working with children – there are filming schedules that need to be regulated and followed. Always make sure the parent or guardian is always present.
Find out how involved you are needed for the production. The 2^nd AD usually handles the talent after the payment negotiations are done but you need to know – if you are in charge of talent during the Production phase. There are times when the Casting Director works the whole Production through.

BEGIN YOUR CALLS FOR TALENT TO ARRIVE AT YOUR CASTING

Handling Agents and Managers

Always do fair negotiations with agents – and SAG – their job is important. Their job is to make sure their talent gets the best product work – and gets paid well – and that they get paid themselves. They have their own rules – follow them.
They need to know what is required from the director – from their talent. Things may involve: manicures or pedicures, a special hair job or coloring, nudity, or even learning Kung-Fu.

TOOLS OF THE TRADE

video camera with the capability to transfer material – for viewing
2 bright lights
A camera for stills
Casting forms: Sign In sheets | individual Information sheets
Sides (the part the talent is trying out for)
Tripod
Stapler
A quiet room or area
Black duct tape to mark the floor
Stack of blank paper
A box of pens
A box of Sharpies
A box of paperclips.

THE PROCEDURE

- Get your casting location in order. Usually 2 rooms – one as a talent holding area for filling out forms – and one for the actual audition. The perfect location I found for this set up is:

CHAMPION STUDIOS

257 W 39^th St, 14^th Fl

212-307-7707

- They have holding areas and rooms for multiple castings going on at once. Call ahead of time – they get filled up fast. Mention – filmproductionexpert.com. If you don’t use this studio you run into the chances of being charged for both rooms – and other studios are flakey about a large Go-See.

- In the holding area- set up a Sign In sheet, a stack of individual Information sheets, the stack of blank paper, pens, and Sharpies. As talent arrives have them fill out forms and on a blank sheet of paper have them write their names big and bold with a Sharpie.

- Set up audition room with video camera on tripod. Make sure camera is far enough from the wall to get full body shots. Set up lights. Place strip of duct tape as a standing spot for talent.

- Check with talent in holding room area – and give them the Sides you want them to read. Sometimes you can send this to them ahead of time via email.

- Once talent is brought into the audition room – make them feel comfortable. Shake their hands and greet them. This is especially important for children. Don’t rush them. Bear in mind movie actors are delegate – and they are thinking how they are doing you a favor – coming to the casting. Make them feel that way.

- Read over their resumes and information – and or – mention productions you seen them in – either stage or screen. Be truly interested. They are nervous and this makes them feel like you are really trying to get to know them. Commit on anything special – from there information.

- “Okay, stand on that piece of tape for me please. Don’t worry –just relax. It’s painless.” Snap a photo of them and then start the video camera rolling with a close up of their face and name sign. “Okay, hold your sign up and tell me your name and agency number.” After they say their information “Now let me get a profile of you.” Pull back on the camera to get a full body shot.

- Here I would say – NEVER – shoot close ups of their private parts. Stay professional. 1- You may not be able to erase it before the client sees it and 2 – the talent may want to see it, when their done. Keep that stuff to yourself – and make a mental note about it. If the director needs provocative shots – like a Russ Meyer – you let the talent know – and if they are comfortable – proceed. You need to know right then if they are down with the requirements.

- Once that’s done – have them read the selected sides. Video this several times – in different angles – close up and wide. Have them bring out their best actor.

- Once done – shank their hand again “Thank you. See – that was easy. Someone will call you – no matter what the outcome is.” And really call them – even if they don’t get the part – they really want to know.

- Once they are out of the room – paperclip all their information together.

- Repeat with next talent.

AFTER CASTING – BACK TO PRODUCTION

Set up meeting with the Director and the Producer to show casting.
Have a large table available to lay out all photos and information sheets.
Have video viewing capability set up and ready to go.
As you go through the meeting mention everything you have learned from the individuals that you are presenting.

ONCE TALENT IS SELECTED

There are two things you need to do:

1- Make a booklet of who’s who in the talent for the film. This helps the Agency and the Production Team see you are on top of your game.

2-In the Production Office – make a 4 x 8 form corm board – of the talent who is going to be in the film. Get a can of 3M Spray Mount, lightly spray it, and paste the information, on the board. This board will stay at the Production Office for the Director and the Production Staff to view. One less thing – for them to worry about.

Here is where the 2^nd AD would step in – to handle talent.
If are in charge of the talent handling – you are the communication between the Agents, the Talent, and the Production Team.
Stay on top of choreographer scheduled meetings and rehearsals. Make sure talent is at rehearsals.
Make sure talent and Wardrobe are in sync.
You need to coordinate with the AD for call times – and even give the talent their call times.
Always let the Producer know, of any conflicts the talent may have – i.e. schedules, pick ups, over budget payment, etc.
Never hire a talent that will take you over budget. If the Director wants them he or she will pay for them. Never pay out of your pocket.

PRODUCTION

On the set the Casting Director will hold talent in the holding area, make sure they are getting prepared by make up and wardrobe, and release them when they are done.
Make sure all payment is done – for talent.

POST PRODUCTION

Here – you’re pretty much making sure the talent names are spelled correctly for the film credit.

A STORY

While casting a film – there was this one particular actor – I’m not going to mention names – but he’s huge in the film industry. He constantly threatened to call the SAG union rep – to complain about the casting conditions. There was no water. A car should have picked him up and dropped him off. I didn’t budget for that – then – but I do now – just in case. Deep down some actors have a diva – complex. Figure out theirs’ – cater to it – and rock your casting.

Moral: – it is important to know what animal you are dealing with – in business – in life – or even trapped in the wilderness with a bobcat staring at you.

Human Factor – never make someone feel stupid they hired you.

How To Cast A Music Video

Dwayne B. Perryman — Tue, 09 Mar 2010 03:59:47 +0000

Casting a music video is very different than casting a commercial or film. There are basic elements – like equipment – but it has different variables. Sometimes the artist is there to get a one on one feel of the talent. Not literally – but there are artist who try. But mostly they are there to see how talent reacts to their music.

PRE-PRODUCTION

Meeting the Director and the Producer

KNOW YOUR DIRECTOR

The Director – will have a certain flair, of how he or she sees talent – and with music videos the Director can have full control – if the artist is feeling the vibe. As the Casting Director – your job is to bring together a unique blend of talent – to paint a visual painting.

KNOW YOUR PRODUCER

Get budgets clarified immediately. The overall casting budget and talent budget.
Your casting budget includes: casting personnel, casting space, video camera, casting paperwork Polaroid film, expenses, and lighting.
Method of payment for talent in a music video is paying One Time Only. Meaning: once they are done on the set for that day – they are entitled to be paid.
Are there children involved? With children there are sensitive issues that need to be addressed. When working with children – there are filming schedules that need to be regulated and followed. Always make sure the parent or guardian is always present.
Find out how involved you are needed for the production. The 2^nd AD usually handles the talent after the payment negotiations are done but you need to know – if your are in charge of talent during the Production phase. There are times when the Casting Director works the whole Production through.

BEGIN YOUR CALLS FOR TALENT TO ARRIVE AT YOUR CASTING.

Handling Agents and Managers

Always do fair negotiations with agents – and SAG – their job is important. Their job is to make sure their talent gets the best product work – and gets paid well – and that they get paid themselves. They have their own rules – follow them.
They need to know what is required from the director – from their talent. Things may involve: manicures or pedicures, a special hair job or coloring, nudity, or even learning Kung-Fu. I’m kidding about the Kung-Fu, that’s just when you’re Casting For A Film.

TOOLS OF THE TRADE

video camera with the capability to transfer material – for viewing
2 bright lights
A camera for stills
Casting forms: Sign In sheets | individual Information sheets
Sides (the part the talent is trying out for)
Tripod
Stapler
A quiet room or area
Black duct tape to mark the floor
Stack of blank paper
A box of pens
A box of Sharpies
A box of paperclips.

THE PROCEDURE

- Get your casting location in order. Usually 2 rooms – one as a talent holding area for filling out forms – and one for the actual audition. The perfect location I found for this set up is:

CHAMPION STUDIOS

257 W 39^th St, 14^th Fl

212-307-7707

- Set up audition room with video camera on tripod. Make sure camera is far enough from the wall to get full body shots. Set up lights. Place strip of duct tape as a standing spot for talent.

- Check with talent in holding room area.

- Once talent is brought into the audition room – make them feel comfortable. Shake their hands and greet them. This is especially important for children. Don’t rush them.

- Read over their resumes and information – looking very interested. They are nervous and this makes them feel like you are really trying to get to know them. Commit on anything special – from there information.

- Here I would say – NEVER – shoot close ups of their private parts. Stay professional. 1- You may not be able to erase it before the client sees it and 2 – the talent may want to see it, when their done. Keep that stuff to yourself – and make a mental note about it. If the director or artist needs provocative shots – you let the talent know – and if they are comfortable – proceed. You need to know right then if they are down with the requirements.

- Once that’s done – Okay, I just want to see a little dancing. It doesn’t have to be anything fancy – I just want to see what you got.” You will be surprised at some of the dances moves people can do. Video this several times – in different angles – close up and wide.

- Once they are out of the room – paperclip all their information together.

- Repeat with next talent.

AFTER CASTING – BACK TO PRODUCTION

Set up meeting with the Director and the Producer to show casting.
Have a large table available to lay out all photos and information sheets.
Have video viewing capability set up and ready to go.
As you go through the meeting mention everything you have learned from the individuals that you are presenting.

ONCE TALENT IS SELECTED

There are two things you need to do:

1- Make a booklet of who’s who in the talent for the commercial. This helps the Agency and the Production Team see you are on top of your game.

2-In the Production Office – make a 4 x 8 form corm board – of the talent who is going to be in the commercial. Get a can of 3M Spray Mount, lightly spray it, and paste the information, on the board. This board will stay at the Production Office for the Director and the Production Staff to view. One less thing – for them to worry about.

Here is where the 2^nd AD would step in – to handle talent.
If are in charge of the talent handling – you are the communication between the Agents, the Talent, and the Production Team.
Stay on top of choreographer scheduled meetings and rehearsals. Make sure talent is at rehearsals.
You need to coordinate with the AD for call times – and even give the talent their call times.
Make sure talent and Wardrobe are in sync.
Always let the Producer know, of any conflicts the talent may have – i.e. schedules, pick ups, over budget payment, etc.
Never hire a talent that will take you over budget. If the Director wants them he or she will pay for them. Never pay out of your pocket.

PRODUCTION

On the set the Casting Director will hold talent in the holding area, make sure they are getting prepared by make up and wardrobe, and release them when they are done.
Make sure all payment is done – for talent.

POST PRODUCTION

If possible – ensure a copy of the music video for the talent who was in it. This builds relationships.
Hand in all forms of talent payment. If you paste all your receipts and talent bills on paper – form a booklet – your good to go and can move on to the next music video casting.

A STORY

While casting a music video in Chicago. We went through many agencies looking for that one woman – with that look. After one week of casting – we found her. The day before the shoot I explained to her – there is a bedroom scene with you in your bra – and she said “I don’t do bra shots. I’ll wear pajamas.” I said “This not ‘I Love Lucy’. I need to see flesh.” Nope. Her scene was shot with her – in pajamas. It sucked.

Understand the animal. Some people are shy – but when they dance – they shine. And some people want to flash their bodies.

Happy Casting

How To Cast A Commercial

Dwayne B. Perryman — Sun, 07 Mar 2010 19:37:56 +0000

Image via Wikipedia

Casting a commercial is very different than casting a film or music video. There are basic elements – like equipment – but it has different variables. Sometimes the agency is there to get a one on one feel of the talent or to ensure they see talent that their client would accept.

PRE-PRODUCTION

Meeting the Director and the Producer

KNOW YOUR DIRECTOR

The Director – will have a certain flair, of how he or she sees talent – but with commercials, the Director is bound by the agency’s vision – of the talent selling their product – and must conform to that. As the Casting Director – your job is to have castings that will satisfy both parties.

KNOW YOUR PRODUCER

Get budgets clarified immediately. The overall casting budget and talent budget.
Your casting budget includes: casting personnel, casting space, video camera, casting paperwork Polaroid film, expenses, and lighting.
Method of payment for talent in a commercial is based on a Buy Out situation. Meaning: the commercial will air for a curtain amount of time – in a curtain area – and that will calculate how much the talent needs to be paid. The agency usually works this out. This does not come out of Production’s budget – this comes out of the agency’s budget.
Are there children involved? With children there are sensitive issues that need to be addressed. When working with children – there are filming schedules that need to be regulated and followed. Always make sure the parent or guardian is always present.
Find out how involved you are needed for the production. The 2^nd AD usually handles the talent after the payment negoiations are done but you need to know if your are in charge of talent during the Production phase. There are times when the Casting Director works the whole Production through.

BEGIN YOUR CALLS FOR TALENT TO ARRIVE AT YOUR CASTING

Handling Agents and Managers

Always do fair negotiations with agents – and SAG – their job is important. Their job is to make sure their talent gets the best product work – and gets paid well – and that they get paid themselves. They have their own rules – follow them
They need to know what is required from the director – from their talent. Things may involve: manicures or pedicures, a special hair job or coloring, nudity, or even learning Kung-Fu. I’m kidding about the Kung-Fu, that’s just when you’re Casting For A Film.

TOOLS OF THE TRADE

video camera with the capability to transfer material –for viewing
2 bright lights
A camera for stills
Casting forms: Sign In sheets | individual Information sheets
Sides (the part the talent is trying out for)
Tripod
Stapler
A quiet room or area
Black duct tape to mark the floor
Stack of blank paper
A box of pens
A box of Sharpies
A box of paperclips.

THE PROCEDURE

- Get your casting location in order. Usually 2 rooms – one as a talent holding area for filling out forms – and one for the actual audition. The perfect location I found for this set up is:

CHAMPION STUDIOS

257 W 39^th St, 14^th Fl

212-307-7707

- Set up audition room with video camera on tripod. Make sure camera is far enough from the wall to get full body shots. Set up lights. Place strip of duct tape as a standing spot for talent.

- Check with talent in holding room area – and give them the Sides you want them to read. Sometimes you can send this to them ahead of time via email.

- Once talent is brought into the audition room – make them feel comfortable. Shake their hands and greet them. This is especially important for children. Don’t rush them.

- NEVER – shoot close ups of their private parts. Stay professional. 1- You may not be able to erase it before the client sees it and 2 – the talent may want to see it, when their done. Keep that stuff to yourself – and make a mental note about it.

- Once that’s done – have them read the selected sides. Video this several times – in different angles – close up and wide. Have them bring out their best actor.

- Once they are out of the room – paperclip all their information together.

- Repeat with next talent.

AFTER CASTING – BACK TO PRODUCTION

Set up meeting with the Director and the Producer to show casting.
Have a large table available to lay out all photos and information sheets.
Have video viewing capability set up and ready to go.
As you go through the meeting mention everything you have learned from the individuals, that you are presenting.

ONCE TALENT IS SELECTED

There are two things you need to do:

1- Make a booklet of who’s who in the talent for the commercial. This helps the Agency and the Production Team see you are on top of your game.

Here is where the 2^nd AD would step in – to handle talent.
If are in charge of the talent handling – you are the communication between the Agents, the Talent, and the Production Team,.
You need to coordinate with the AD for call times – and even give the talent their call times.
Always let the Producer know, of any conflicts the talent may have – i.e. schedules, pick ups, over budget payment, etc.
Never hire a talent that will take you over budget. If the Director wants them he or she will pay for them. Never pay out of your pocket.

PRODUCTION

On the set the Casting Director will hold talent in the holding area, make sure they are getting prepared by make up and wardrobe, and release them when they are done.
Make sure all payment is done – for talent.

POST PRODUCTION

If possible – ensure a copy of the commercial for the talent who was in it. This builds relationships.
Hand in all forms of talent payment. If you paste all your receipts and talent bills on paper – form a booklet – your good to go and can move on to the next commercial casting.

A STORY

While casting a Coke commercial – I filmed the casting like I would a music video casting – which flashy moves and angles. Once I dropped off the material to the producer and they showed it to the client – the client complained about the camera work being to jerky and music video like.

The client – did a new casting for the commercial – using another casting director – other than me.

Moral: – it is important to know what animal you are dealing with – in business – in life – or even trapped in the wilderness with a bobcat staring at you.

Human Factor – never make someone feel stupid they hired you.