Another thing inexperienced directors will do is turn this blocking rehearsal into a full-on exploration of the acting values of the scene. The blocking rehearsal is for blocking. The acting rehearsals come later—right before the camera rolls. Insist on a rehearsal! Once you’ve seen a full blocking rehearsal and the actors are in the process, the set is yours. The AD will often say “DP and crew have the set.” It’s yours, and you should insist on having it completely. This is also the point at which the AD will usually ask, “How long will it take?”
How to Be Fast There are dozens of secret tricks, but obviously, they are beyond the scope of this book. Most of them just come from experience and experimentation. There are, however, some things to keep in mind that will help you through the day. 1. Plan several moves ahead. Don’t just light for the master; have some of the lights you will need for coverage already rigged or at least prepped and standing by. For example, many DPs insist on having an Inkie with a hand dimmer standing right by the camera in case they need a last-minute eyelight. 2. Bringing in a ladder to do overhead rigging is timeconsuming. Anything that is up in the air should already be rigged and cabled, even if you won’t need it until later. 3. Have a few “dead soldiers” standing by. These are just a few lights on stands and ready to go, in case you need them for a last-minute scramble or a reset. They should have power available, scrims hanging on the stand, even some precut gels and diffusion with the unit. But in the end, what is the real hidden secret of the pros? Have a great gaffer and key grip—it makes a huge difference.
Lighting Fundamentals Light is what we work with. Infinite and subtle in its variety, the quality of light is a life-long study. In order to shape it to our purposes, it is essential to understand the basic jobs it can do for us. Let’s review the fundamental building blocks of lighting, the basic elements with which we shape a scene.
The Basic Elements Key The keylight is the main or predominant light on a subject. Not necessarily the brightest (the backlight is frequently hotter in intensity), it is the light that gives shape, form, and definition to the subject. If a person has only one light on 44
Motion Picture and Video Lighting