Cinematography : What's your approach... by Stephen Folker

Every DP and shooter has their own style and there are levels of trust that are earned making the way but generally speaking I am a fan of photographs on scouts to create a board. It's such a good topic to discuss. Thanks, Stephen!

Great question, Stephen Folker! I don't have that much experience with shot lists, but I used to write on the script using brackets AND print out a formal list to cross off. The script writing guarantees minimum coverage, while the list obviously makes sure we don't miss anything we planned to get.

Sam Sokolow - Do you take photos of every potential shot you're planning, or just a key ones you don't want to forget?

David Abrookin - You are doing better than me! I need to improve my organization skills as I tend to wing it far too often. Do you find you adhere to the list or slowly start to drift away from it during the shoot?

Stephen Folker I'm a list follower. Maybe I add a few shots that come up during blocking or that are location-inspired, but I've tended to follow my list pretty strictly because otherwise, I will find I'm missing something when I get to the editing bay.

For my first short years ago, my friend and I had mapped out several locations but once there for the shoot we winged the shot list. It worked fine for us but today I would certainly scout the location and take photos. And, I'd also be open to adding shots should inspiration strike on the day of the shoot.

A) Just wing it - make up shots on the spot

Personally, I often find myself in the "just wing it" category when it comes to creating a shot list. I enjoy the spontaneity and freedom that comes with making up shots on the spot. It allows me to adapt to the environment, capture unexpected moments, and embrace the creative energy of the moment. While this approach may not be suitable for every project, in run-and-gun filmmaking scenarios, it can bring a sense of authenticity and freshness to the visuals.

C) Write shots right on the script / using brackets

In certain situations, I prefer to write shots directly on the script or use brackets to indicate specific shots or camera movements. This approach helps me visualize the scene and communicate my intended shots to the cast and crew. By incorporating shot descriptions in the script, it ensures everyone is on the same page and allows for better coordination during the shoot. It's a useful technique when working on projects that require careful planning and when I want to ensure a particular vision is captured.

D) Take photos on site / then print / use as storyboard

There are times when I find it helpful to take photos on the shooting location, print them out, and use them as a storyboard. This method allows me to have a tangible visual reference and helps me organize the shots effectively. By physically arranging and manipulating the printed photos, I can easily communicate my ideas to the team and make sure every shot aligns with my vision. This approach works particularly well for projects that demand precise visual planning or involve complex scenes with specific shot compositions.

It's worth noting that as a filmmaker, I adapt my approach based on the specific project, shooting style, and the creative direction I want to pursue. These options provide flexibility and allow me to choose the most suitable method for each unique situation I encounter.

Every shoot should be approached with a shot list, be it written, visual (photos or drawings) or in your head. It is an organized approach to accomplishing the art, craft and vocation of what you are doing either for passion or for a living. A shot list is the outcome of actually thinking through the story, visualizing it, and writing down your thoughts in an organized fashion so that the ideas can be conveyed to others. A storyboard is a visual representation of the shot list.

My approach varies a lot depending upon what the project is. A scripted studio shoot has very different needs than a documentary that will require a 20 day hike into the location.

For a scripted project an overview of my general approach is:

-Read the script for the story.

-a few days later after the script has played in and out of your thoughts, reread the script and make brief notes of images that come to mind.

-the next day reread the script making detailed notes and drawings of visualizations that have come to you.

-meet with the director discussing their view of the story and visuals including general look and feel (some specifics), a colour - contrast - brightness arc of the story, techniques used. This should also include a discussion of needs for the locations and studios. Often includes stick figure drawings of shots and lots of hand waving.

-apply the director’s ideas and vision to your ideas to come up with interim shots.

-meetings with the director will continue as everything is fine tuned or changed.

-on location scouts, take full 360˚ shots of the every location with people in the approximate area where the actors will be hopefully around the actual time of day the scene will take place. If possible have the stand-ins go through the lines to see how it reads in the location.

-as the locations or sets are locked in, develop accurate plots of the shots and the lighting.

-constant communication with the director

-apply the AD’s shot list for each day to the plots to be able to prep ahead of the shot being shot.

-distribute the camera plots to everyone, the lighting plots to the G&E crew .

-the shot list, camera plots and lighting plots are the fallback position in case a better approach does not come up while on set. your planning is your safety net.

Lots of steps left out and glossed over. Planning is the key to making things run smoother and be better. If you wish to wing it, only do so on self-funded projects since it would be professional incompetence on anything else.

Your approach, Andrew Sobkovich, is very professional. Thx for laying out your process.

Never A...never ever ever A lol.

I usually use Frame Forge.