Pre-production is crucial time for any director because it's the the place we undergo a "strategy of discovery." Here is an outline of what is expected of a director during pre-production. Please understand that all these pre-production activities will differ in time and significance depending on whether you might be shooting a movie or TV.
(1) Location Scouting
Location scouting is likely one of the first activities you can be doing in the pre-production stage of filmmaking. After getting decided on what kind of look you require for the film, a search is then begun for suitable locations.
Who goes on location scouts: Director, Location Manager, 1st Assistant Director, Producer, Manufacturing Manager or Unit Manufacturing Manager, Manufacturing Designer or Art Director, Transportation Captain or a Driver
(2) The Budget
Throughout script improvement, filmmakers produce a rough budget to persuade film producers and film studios to offer them a green light for production. Throughout pre-manufacturing, a more detailed film finances is produced. This document is used to secure financing.
A finances is typically divided into 4 sections: Above the Line (inventive talent), Below the Line (direct manufacturing prices), Put up-Production (enhancing, visible effects, and so on), and Different (insurance coverage, completion bond, etc).
The Director should also perceive the budget. It's best to know where you can also make suggestions on what parts to take out - and on what to add in.
(three) Casting
When a director first begins prep, you read the script by means of a number of times to get a feel for what the story is about and who the characters are. You then have a meeting with the Producer(s) and the Casting Director to debate their ideas of the characters.
This is a vital meeting for the Director, because it is the place you find out what the Producer(s) are considering and if they are on the suitable track.
After the meeting, the Casting Director puts collectively a list of actors that match the character traits and specific appears discussed within the meeting with the Producer(s).
The Casting Director then has her/his personal casting session the place they document a "short list" of actors for the director and the Producer(s) to view.
A Director by no means has enough time to work with the actors in a casting session, so listed here are the 3 most important qualities you search for when auditioning actors:
1. Do they look the half?
2. Have they got range?
3. Can they take direction?
(4) Conferences, Meetings and More Meetings
The Director will have many conferences during pre-production. These meetings are scheduled by the AD Department and range from script conferences and idea meetings with the producers to particular person division head meetings.
The director should have the next meetings:
- concept meeting with producers/location manager/artwork director
- script meeting with producers and writer
- casting assembly with producers and casting director
- Director and 1st Assistant Director conferences
- costumes
- props
- set dec
- special FX
- stunts
- extra casting
- transportation
- animals
- visual FX
- Production meeting
(5) Script and Scene Evaluation
Because a director is a storyteller, you should perceive every element about the story you are telling. Understanding the story requires a number of work on the director's part because you might want to take the script aside scene by scene to find out what it is about, what works and what doesn't.
A Director's first impressions are important if you begin the script read via process. You want to remember your emotional reaction to the story and what images the story stimulates in you. What you "really feel" is really what counts, because it is your emotional response to one thing that defines it as a "Truth."
To know the Quincy [1] script, a Director must operate in the sub-world of the characters. Due to this fact, one of many essential functions of script evaluation for a Director is to find out who the characters are, and what happens to them.