2. The pre-production

2.1 Determine the film design

Man sieht einen langen Gang. An den Seiten sind Regale, die vollgestopft sind mit Käse. Am Ende des Ganges sieht man einen Mann in weisen Klamotten.The organ­i­sa­tion starts with coor­di­nat­ing the design of the film between the cus­tomer and the pro­duc­ers. So the required amount of time and equip­ment can be cal­cu­lated.

 

2.2 Creation of a shooting schedule

Man sieht einen kurzen Ausschnitt eines Drehplanes vom Freitag, den 15. März 2013

The film pro­duc­tion writes a shoot­ing sched­ule based on the screen­play. It forms the basis for the organ­i­sa­tion. Detailed ver­sions con­tain the daily plan­ning and lay out, on which loca­tions will be filmed, which props will be used and how much time will be needed.

 

2.3 Arranging locations

Eine Person, die gerade einen Drehort in freier Natur für die Vorproduktion aussucht und auf ein entferntes Waldgebiet zeigt.

Depend­ing on the bud­get and the struc­ture of the film the selec­tion of shoot­ing loca­tions is based on the infor­ma­tion given by the client, eval­u­a­tion of pic­tures, or after a visit of the loca­tions by the direc­tor or pro­ducer.

 

2.4 Arranging equipment

Sehr nahe Einstellung eines Objektivs mit den verschiedenen Einstellungen für Schärfe, Blende etc.

Depend­ing on the screen­play and bud­get the needed equp­ment is orga­nized. Pri­mar­ily this includes cam­eras and basic aux­il­iary equip­ment like tripods, mon­i­tors and mem­ory cards, as well as light and sound equip­ment. Elab­o­rate pro­duc­tions may require a dolly, a crane, or even an heli­copter for aerial shots. The direc­tor decides what is needed.

 

2.5 Organizing the crew

Ein Gruppenfoto der gesamten Filmcrew. Links stehen die zwei Kameramänner, rechts daneben der Hauptdarsteller, rechts daneben Regisseurin, neben ihr die Redakteurin, rechts daneben steht der Kameraassistent, rechts daneben der Tontechniker und rechts daneben die Maske.

On the basis of the shoot­ing sched­ule the size of the staff will be deter­mined and orga­nized. Nor­mally the film team con­tains at least one cin­e­matog­ra­pher and one edi­tor. A more pro­fes­sional set needs an assis­tant. If impor­tant sound is recorded you need a sound tech­ni­cian and an addi­tional gaffer for com­plex light sit­u­a­tions. If actors and pre­sen­ters are employed, a direc­tor and make-up artists will be nec­es­sary. The closer it gets to cin­ema stan­dard, the more staff will be needed.

 

2.6 Selectinging speakers

Ein Tonstudiomikrophon in einem Tonstudio.

In the pre-pro­duc­tion stage you also select the voice-over artists and dub­bing actors. A pro­fes­sional voice-over has become min­mum stan­dard for an image film.

 

 

2.7 Arranging props

Eine Kamera filmt einen Leuchtturm.

In nearly every film you need prop­er­ties, which have to be cho­sen and orga­nized. That´s for exam­ple clean com­pany cloth­ing for the staff, hel­mets in safety-related envi­ron­ments, or forms and pre­sen­ta­tions for staged meet­ings.

 

 

2.8 Arranging travel and catering

Eine kalte Essensplatte mit verschiedenen Speisen.

Based the shoot­ing sched­ule, the cho­sen loca­tions and the crew size, jour­neys and the cater­ing for the team on set can be arranged.Based the shoot­ing sched­ule, the cho­sen loca­tions and the crew size, jour­neys and the cater­ing for the team on set can be arranged.

 

2.9 Selecting actors

Zwei junge Erwachsene lächeln in eine nicht sichtbare Kamera.

The selec­tion of the actors or pre­sen­ters are coor­di­nated with the client. The screen­play defines what pro­file of actor is needed. Depend­ing on the bud­get, a selec­tion can be based on pic­tures or showreels of the actors. A speci­fic test shoot might be applic­a­ble for a high-end pro­duc­tion. Extras are selected by means of pic­tures.

 

2.10 Organisation of the studio

Eine digitale Spiegelreflexkamera im Vordergrund, die Knetfiguren für einen Stop-Trick fotographiert. Im Hintregrund unscharfer blauer Stoff.

For image films, trade fair films or com­mer­cials a stu­dio is needed for elab­o­rate and com­plex pro­duc­tions, or for the record­ing of pre­sen­ta­tions. Reg­u­lar com­pany films are shoot at the client’s loca­tions or in real-life set­tings like offices or work­shops.

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