There are a number of different obstacles you might face when making a film and they cannot be narrowed down to a select list – life is not that predictable. Still, I wanted to discuss three of those obstacles that many people face no matter the size of the project.
Getting enough coverage for your scene.
Setting up and creating unique shots.
Shooting on a compressed shooting schedule.
When I made my first feature I learned some very valuable tools that helped me make my days as well as created some very cinematic and unique shots along the way. These don’t always mean the shot will be better but they do provide some viable alternatives and can help you force your hand in editing and create unique situations in your film.
Not only will are these techniques tools to make your movie more cinematic but can also greatly change the dynamic of your actors on screen.
Let’s discuss three different shots that I use that help me to get the coverage I need, create shots that stand out, and get them all done on a compressed shooting schedule.
Cinematic Shots: 0:28
Two Shot Master: 1:16
Wide/Medium/Close-Up: 1:47
Insert Shots: 2:46
A set up that I see many filmmakers default to is setting up to actors in a way that they are talking at each other in profile stances. This isn’t a bad set up and can be incredibly powerful if used in the proper context. The problem is it is sometimes easier to just have the actors talk at each other than it is to come up with something a little more interesting and dynamic.
I call this first set up the Two Shot Master. This simple method adjusts the actor’s stance to a 3/4 turn toward the camera. This is basically theater blocking and translates amazingly well to film.
What this achieves is a scenario where the two actors look as though they are facing each other while at the same time allowing the camera to see both of their eyes. When in a pinch this can save you from the need to get shot/reverse shot or “over the shoulder” coverage of your scene.
Another scenario this work extremely well is when to actors are sitting. For this example, imagine they are sitting on a bench. One actor sits facing forward 3/4 turned toward the camera. The other actor sits with their feet facing the other side of the bench turned 3/4 toward the camera. The dynamics are pretty cool.
If you need to see even more examples of some unique actor placements watch the behind the scenes for the movie “Lord of the Rings: Fellowship of the Ring.”
I’m not sure if it is how they teach this technique in school or if people are just lazy but the most common approach I see to getting scene coverage do three separate setups for the wide, medium, and close-ups of a scene. This might be the preferred method because you have more control over the shots you use to tell your story.
Ideally you can compose each shot specifically for your artistic vision, but that is not always possible if you are facing the obstacles I mentioned above. In that case, I propose an alternative.
Instead of having three distinct setups try lighting your master shot and moving the actors instead of the camera. (The master shot is often times the wide shot or the main shot that includes the most amount of coverage for your scene – the shot where we are able to see the most amount of the action in the scene.)
Now, if you are working with an editor and you have a very specific intention or order you want the scene to play out in, do it on set and there is no adjusting it. There are drastic creative changes that happen when you have to cut up a single shot in a film — the jump cut. This is a great way to force your hand as a director to get the exact version of the movie you envisioned when it goes to post.
One easy way to elevate the quality of your film, whether it be a feature film, short film, commercial, corporate video, documentary, or even your YouTube videos is to get insert shots. This is oftentimes overlooked because no one is saying anything to the camera, but it is super important to tell a story.
I remember working on a movie where I was told that something was obviously happening, but it was never covered in a close up and was only shown in the wide. This is a big mistake if what we were supposed to focus on was easily missable by the people viewing it.
The problem we face, though, is we don’t always have time to get these insert shots as they sometimes require a turnaround (when the entire crew has to set up the camera so it is facing the opposite direction). These turnarounds are costly in terms of time, often requiring major set dressing adjustments, relighting and the obvious new camera set up. So how do we solve this problem?
A quick solution to get around the “turnaround” is to incorporate the use of reflections. This could be a window, mirror, anything that reflects a clear image. If done right, you can get your insert shots without the need for doing a massive set up. This doesn’t mean that if you shoot in front of a mirror your problems are solved. Reflections are an obstacle all their own. If done right the worst-case scenario might be that you need to change the focal length on your camera and adjust the height, but that is far easier than a complete re-light.
The main thing I hope you get from this is that if you get stuck it may only take some creative thinking beyond our perceived idea of how it is supposed to be done. Come up with a number of options to choose from before you get to set and list them in order of preference. As your day progresses you can set time limits so that if you go over you will know that you may have to move on to your next set option.
When it comes to filmmaking, think outside the box and use your creativity to solve problems.