"I see dead people."  - The Sixth Sense (1999)

How to plan a shoot in 10 easy steps.

You have worked enough as a second A.D. and D.A. and you think you are now ready to be the first Asst Director but you are still lacking confidence on how to plan the shoot read on to find out how to plan a shoot in 10 easy steps. 

So while you may consider the director to be a conductor of the orchestra, the first A.D. is like the traffic police at a junction. During the shoot, the director concentrates on performances, shots, and the edit as well sometimes, the first AD has to make sure that everything runs clockwork. The first A.D. has to be aware of everything that is happening on and off the set and in all departments, he has to make sure that all departments deliver on time and come up with alternative plans in case something goes wrong, a lot of thinking on the feet and man-management has to happen.  

So how to go about planning a shoot,

1. Read all the material possible namely the script, treatment note, references, storyboard’s etc. (all material in the PPM docket if there is one.) Understand what is the key driver to the shoot. (is it action-based, or drama or product-driven in case of commercials)
   
   
2. Get the breakdown done based on the script/storyboard of all the requirements and divided into each individual department. Make sure all is covered.
   
   
3. Meet and understand the director’s perspective. Understand his style of working and what he is looking for in that project.
   
   
4. Meet the head of all departments more than once if possible, share all the requirements from each department. Make sure that there is no overlap of responsibilities or assumption that someone will do it. Give a written list so that there is no confusion as to who is doing what. (eg. when art assumes that production is getting a prop or vice versa) Do follow up’s with all to check the progress.
   
   
5. Get timelines from each department, like how long for art to prep, how long to get the artist ready from makeup hair and costume, distance and time it will take between locations (especially if you are shooting 2 or more locations on the same day) etc.
   
   
6. Go for a recce, not just to see locations but to plan the entire shoot, to figure out problems that may arise at the final shoot day. Go for more than one recce at times if possible, if not then a final tech recce with the main required people where all details are discussed is a must.
   
   
7. Plan the shooting schedule and shoot order. (this could be done before or after a recce depending on the situation, although the A.D. should go for a recce with a plan in mind so that they can figure if the plan is possible or not) Keep in mind the director and DOP’s preferences in order of shoot. Confirm with all required that the shoot order is fine. (Done after confirming with the director)
   
   
8. Prep the call sheet, here all the requirements, call time for each department and artists, etc, don’t forget to include weather, tide and all other details that may apply to that project. Make sure that call times are given to all and follow up and pickups arranged with the help of production and your assistants.
   
   
9. Have a final meeting with production and other departments if possible telling them the final plan, or just production and passing information to all departments making sure that all are on the same page.
   
   
10. Shoot. Communicate on Shoot, make sure that your assistants are passing on all the relevant information, make sure all departments are working to clockwork precision. Don’t forget to plan the next day’s shoot while the shoot is going on.
    

Lastly, enjoy your shoot and try and maintain a friendly atmosphere throughout.    

These 10 points just give a quick overview of what needs to be done. In the following blogs, I will put down the 1^st AD’s perspective into each department.

Auggieism:- What do you call a hard-working Auggie... . 

Ans:- Sloggie..

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My Advertising Directorial Debut

My advertising directorial debut,

Check out the first of my work to go on air,
This one is for Lacto Calamine "Sumer Offer" 15 sec where you get a face-wash free along with a bottle of Lacto Calamine. This is the director's version has minor differences to the one on-air like the music ending.

CREDITS:-
Agency: Orchard
Copywriter: Pooja Ambulkar
Creative Director: Ajay Menon
Executive Creative Director: Hemant
Senior Brand Associate: Bhagyarekha Hindlekar
Account Director: Kaushik Sarkar
Films Executive: Shraddha Singhvi
Director: Auggie
Producer: Prashant Bhardwaj
Production House: Pumpkin Pictures
CG: Mandar and Team
Music: Prashant
Sound Studio: Purple Haze
Sound Engineer: Rahul
Voice Over: Sonia
Post Production: Prime Focus 






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"You can't handle the truth!"– A Few Good Men

Post Production Tips Part – 2

Points covered in Part - 1 were,

*Attitude & Relationship, 

*Technical knowledge, 

*Planning & Buffer, 

*Food, 

*Market knowledge & Contacts, 

*Systematic, 

* Back-ups, 

*Accounts, 

*Bills.

Here are some more that would help you to be a good post-production manager,

1. Understanding the Director

Understanding the director you are working for is important to smoothen the process, each director has a unique style of directing and therefore functioning. Most directors get categorised into drama, comedy, style, etc. So while some give a lot of importance to post, there are some who concentrate mainly on pre. In the case of the earlier, you can be assured that the director is going to be involved at every step in the post, there are films that have a lot of graphics or special effects these always require a lot of the director's involvement as approval at every stage is generally required. Therefore knowing if your director would be present throughout or would come at the last stage helps in planning the post. For example, some directors like the editor to go through the rushes and come up with their version of the cut that they feel right, the director then joints the edit after that. But there are others who would like to sit and make the first cut themselves. There is also some who like starting the day late and working into the night while some like starting early and packing up early. Once you have understood the style of the director it is up to you to make sure that you function in the style that is best suited to that director.

2. Communication

Another key ingredient in a good post person or any other department of film making is communication, there are and will always be days when there are delays, or some problem or the other, it is very important to communicate in these cases. Informing the director or editor or the dubbing artist that there is a delay which allows them to plan their life so they don’t have to come to the studio and have wasted time waiting where they could have done some other work. Being in touch with people working for you helps especially when on multiple projects or multiple bookings at the same time, this helps you be on top of what is happening in all places and making sure that time is not wasted. Like if working on online and music at the same time speaking to the editor to know how much work has happened or the music director if you need to be calling for a singer or musician. There will always be a time when multitasking would be called for and this quality comes in handy the most. Letting the director or a producer know about a goof-up helps in controlling a situation well in advance and that avoids things to blow to later.  Also communicating the right information at the right time can save a lot of embarrassment for many, not always does one know or have all details and therefore a warning about a delay or a goof-up can be rectified faster without anyone having to lose their cool.

3. Getting Favors

Being polite and getting favors done is an art by itself, getting a few extra hours or a last-minute booking at a busy studio takes a bit of doing, remember that while you should always try and get your work done, there are times for you to also return favors to people, like helping the studio to give away your room despite it being your booking in order to help another client will be remembered by the studio and they will definitely return the favor when you need it. Don’t forget to give a subtle hint that you are going out of the way to help the studio (even though you may not be) so that your favor is remembered. Remember you will only win favors when you help others.

4. Cracking Deals

As part of this job, you will also have to deal with money, which you may not be paying but the production house you work for does, understanding the need and fixing deals so that all parties are happy will be required. Most production house's work with same post studios so usually rates are already fixed, in the case of the first-timer or in case of a very low budget is when such deals are cracked, you could bargain for better rates as the frequency with the associated increases and at the same time keeping market values in mind. One way of cracking a deal is to tell the studio the time that you estimate that you would use and the amount that you have in total to spend, or you ask for a discount in the rate per hour and you try to fit the no of hours as per your budget. One very important thing to remember is that all deals should happen before the commencement of the project and not after, it is unethical to make someone work and then ask for a discount on the rate after the job is done, even if one has worked with this party for a long time, give people the right to decide if they want to work for lesser or not. Also once the deal is fixed and both parties are happy, then should be no re-negotiating after that.

5. Track Booking and Cost

There are some producers who will give the post guy a free hand while some will check-in at every stage, irrespective of that it is the responsibility of the post person to know at any given time how many hours were used or how much money has been spent on a particular project. If it is one project it is usually easy to remember but most of the times there are multiple projects involved, the trick to keeping a track of all of it is to use the schedule sheet, at the beginning of any project a schedule is drawn up and bookings are taken according to this, carry this around with you at all times and enter the hours used at the end of every day or session, use the remarks column to make note of things that may be required to remember at a later stage, like if a singer or an extra voice was called during the music session and how much did the person charge. So while working on multiple projects remember that while signing the challan/worksheet, to make a note of it on your schedule as well, carry printouts as its easier to write this down immediately. However, entering it on your computer or carrying an updated sheet on your mail always helps you recall after many days.

6.  Say SORRY when needed

The biggest problem that I have seen across people especially the freshers is the lack of ability to say sorry when they goof up. I don’t understand why saying sorry even after the mistake has been pointed out and sometimes even self realised is so difficult. We work in an industry filled with egos and it would be the best to own up for one's mistakes, it cuts down the other person's anger and helps keep the situation under control most of the time. While I will never say sorry if something I have done is right, but for that, I have to not only 100% sure that I was correct by what I thought but by universal standards as well.  So before standings, one's ground better be sure of what is acceptable or not. There are times when saying sorry diffuses the situation at the moment and justifications can be given at a later stage when all is calm.

Keep these pointers in mind and you will suddenly notice how smooth projects go, you will begin to have fun and there will be an increase in your demand and in turn also have made a lot of friends and money for your work.

Auggieism:- What would you say if Auggie was carrying wood

Ans:- Loggie..

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Producer Creativity

At the rate that production houses are cropping up and the creativity used in their names I thought that I would suggest a few of them, hopefully, these are not already taken if so then I am sorry and if you decide to pick a name from here do send me a cheque to thank me...

FPS FILMS
PINEAPPLE FILMS
(ANY FRUIT) FILMS (some fruits and vegetables are already taken)
MONKEY PRODUCTIONS
JACKAL FILMS
DONKEY WORKS
(ANY ANIMAL) PRODUCTIONS (some animals already taken)
BIG FAT ENTERTAINMENT
SPF :SPARROW POOP FILMS
SMALL THIN PRODUCTIONS
OH FILMS
500DP - 500 Director Producer / 500 Dop's / 500 Direct Productions..
50DP
5DP
BLUE SKY FILMS
COVERAGE PRODUCTIONS
LIGHT UP FILMS
UFO - United Film Organisation / Untitled Film Objectives
BANGLE FILMS
i FILM
i PRODUCES
WHATEVER PRODUCTIONS
YOU DECIDE FILMS
OPTICAL PRODUCTIONS
FFF - Fast Forward Films
PP - Pause Productions
CAKE WALK FILMS
BP - Burn Productions
CURTAIN FILMS
BGF - Back Ground Films
SFF - Scratch Free Films
FILMY GUYS
OFFLINE PRODUCTIONS
ONLINE FILMS


CUTTING CHAI PRODUCTIONS
PPP - Pani Puri Productions
OMLET FILMS
BHEL FILMS
SARI PRODUCTIONS
BPP - Bhajiya Pav Productions
VPP- Vada Pav Productions
(ANY INDIAN FOOD) PRODUCTIONS


If you have any more suggestions, or if there exists a production house that is up on this list then do let me know I will gladly add or delete it.

So first suggestion come is
Feni Productions (courtesy Nigel) or Feni Films
could also go with a few Goan ones
Dodol Productions
Bebik Films
Sorpotel Productions..


See more in the comments below



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