What may have just started as an idea in your head now needs to be put down on paper in a room of industry professionals who want to help your concept take flight.
These things take time and you should go into your first video pre-production meeting fully expecting another one. Odds are that multiple meetings will take place, depending on the size of the project, while you and your team consult with one another, undergo script research and development, and take time to budget, plot a realistic timeline, allocate resources, and so on. This is an important opportunity to make sure you’re all on the same page, so let’s explore the Do’s & Don’ts of a video pre-production meeting: Your video pre-production meeting is a vital part of the process and one of the only times when the people who planned the video during pre-production get to meet with the people who will execute it. You go into each phase of preproduction, and ultimately production itself, as prepared as possible.You’ve got the film idea that is going to be the next great Sundance Film Festival nominee, or become a pop culture hit, and you’ve done all your video pre-production with a reputable multimedia company, but now what?Īnswer: pre-production meeting, or ‘pre-pro’, as we like to call it. That way you don't do anything before you're ready to. Which will tell you exactly what you need equipment wise.Įach step in the 15 step pre production checklist feeds into the next. The shot list will inform the walk through at the tech scout. Let's go back to the idea of order of operations once more. At the tech scout your DP and/or his/her Gaffer and Key Grip will make their final lists.Īnd… they'll need to see the locations in order to know what they'll need to achieve the shots. It can be an evolving process, and you certainly might need to place some items on hold.īut for the most part, you don't want to jump the gun until you know precisely what you're going to need for your crew. Sometimes you'll start the gear or equipment list a lot earlier than this. not without lights and a camera we're not. Are we ready for "Lights! Camera! Action?" That you are a true professional.Īnd that’ll serve you in the long term no matter what. If you’re not shooting legally than arguably your project can’t happen.Īt the very least, you're going to send a message to everyone else on the project. If nine times out of ten you can get away with it, that’s fine for nine people. If something bad happens on your set and you don't have insurance, your problems will go far beyond not getting all your shots done that day. This is one of those things where you'd be shocked at how many productions do without.īetter to spend it on a sweet lens pack instead, right? Try explaining that to your Executive Producer. I've been on sets where neighbors complained and if we hadn't been properly permitted, we'd have been shut down. But do your research wherever you are shooting and find out who you need to permit with.Īnd trust me…You should permit your locations. If you’re shooting in Los Angeles, you’ll be filing with Film L.A. You never know until you start working with the permitting office. You may have a location on your list that requires a fire marshall. Sometimes the city won't issue a permit without a lot more legwork from you. Sometimes a location will fall through because of permitting issues. I like to start permitting with plenty of time. Before you go any further, you've got to button things up.Ĭonsult with legal if necessary. Organize files and documentsĪct three of our pre production checklist begins here.īy now you've got a lot of the key components in place.
Pre production services pro#
But the pro tip for this stage of preproduction to is get the people you need early on board early. You'll tailor the "who" of this stage to your project. If your project is going to have heavy make-up requirements then thats someone you'd want in during this phase. This is why keeping a comprehensive list of all prior crew you've hired is wise. This is a good time to scour your crew contact list for anyone you've worked with in the past that you'd want to bring on. The director will help you find the cinematographer. If you don't already have a director, get one after your line producer.
You might also want your 1st AD, but they can come in a bit later. The first people you need to get are the Line Producers, a UPM, or a Production Coordinator. You can't go much farther without at least some key collaborators. Let's say you're a producer with a script.
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