The camera equipment list will probably be published twice. The line producer, or production manager, will usually ask the DoP early on in the production run-up for a guess, or wish list, of the equipment that will be required as the basic kit in order to get competitive quotes from different suppliers. This does not take away the DoP’s right to nominate a preferred supplier.
It is important that this list is reasonable and not an ‘if only I could have’ list. At this stage of preproduction one does not want to frighten the budget controllers with a foolish amount of equipment. It is more important to list a reasonable kit in order that comparative estimates of different suppliers’ prices may be obtained.
Once the supplier has been chosen and the recce is over and a basic list can be decided upon, it is vital that you provide this new list as soon as possible. This is not only so that a firm quote can be obtained but is important to the DoP, who needs to be sure that the chosen supplier can deliver all their requirements or if they need to subcontract
The Director of Photography’s preparation 55
56 Digital Cinematography
Figure 9.1 The Queen’s Nose: technical schedule; page 1
THE QUEEN’S NOSE TECHNICAL SCHEDULE @ 14th July
July
Sat 15 DAY OFF Sun 16 DAY OFF
Mon 17 Road/Bus stop/Bus interior/Portobello Market Standard kit of local supply
2 cameras at Portobello Market Bazooka + off set on pub balcony Tue 18 WASTE GROUND
Genny + Batt Lights
MINI CAMERA for bicycle stunt (in helmets) Wed 19 EXT + INT Bicycle shop
Standard kit – Local supply
Tungsten & HMI Battery lights (possibly to appear in shot) Thu 20 PARKER HOUSE
Standard Kit Fri 21 PARKER HOUSE
Standard Kit Sat 22 DAY OFF
AM RECCE STUDIO Sun 23 DAY OFF
Mon 24 PARKER/garden/kitchen/hallway Standard Kit
MINI CAM for tree stunt Tue 25 PARKER’s Kitchen
Standard Kit
Wed 26 PARKER’s House + road in front Standard Kit + CABLE to ROAD
Thu 27 INT/EXT Parker House Standard Kit
Fri 28 Parker House – Harmony’s Bedroom Standard Kit
Sat 29 DAY OFF Sun 30 DAY OFF
Mon 31 CANAL/Parker living room/Hallway CINE JIB at Canal only + second grip GENNY + standard kit
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The Director of Photography’s preparation 57
THE QUEEN’S NOSE TECHNICAL SCHEDULE @ 14th July
August
Tue 1 PARKER HOUSE/Bathroom/Garden Standard Kit
Wed 2 PARKER HOUSE/Garden/Kitchen/Melody’s bedroom Thu 3 PARKER HOUSE/Road/Bathroom/Kitchen/Living Room
WOODEN FRAMES & Rosco scrim to be fitted to hospital TODAY
Fri 4 PARKER HOUSE/Mrs Parker’s Bedroom Standard Kits
PRE LIGHT STUDIO TODAY Sat 5 STUDIO SHOOT
Standard camera kit
LIGHTS – see separate lighting list Sun 6 DAY OFF
Mon 7 HOSPITAL WARD
Standard Kit – LOCAL SUPPLY
60 amp Cee form tails from FTVS and fitted by House Electrician
ROSCO scrim on wooden frames outside ALL windows in Harmony’s ward (from balcony)
NB this will be fitted Thursday 3rd Aug MINI CAMERAS for wheelchair race Tue 8 HOSPITAL WARD
Standard Kit – LOCAL SUPPLY MINI CAMS for wheelchair race
Wed 9 HOSPITAL WARD & PARKER HOUSE Standard Kit – LOCAL SUPPLY
MINI CAMS for wheelchair race
Thu 10 PORTOBELLO ROAD/Post office/Adventure playground GENNY + Standard Kit
Fri 11 BICYCLE CRASH/Parker Garden/Wigwam GENNY + Standard Kit
Sat 12 DAY OFF Sun 13 DAY OFF
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Figure 9.1 The Queen’s Nose: technical schedule; page 2
58 Digital Cinematography
THE QUEEN’S NOSE TECHNICAL SCHEDULE @ 14th July
Mon 14 INT-EXT – PARKER HOUSE Standard Kit FROZEN FAMILY Tue 15 Parker House
Standard Kit Wed 16 Parker House
Standard Kit Thu 17 Parker House
Standard Kit Fri 18 Parker House
Standard Kit Sat 19 DAY OFF Sun 20 DAY OFF
Mon 21 FOOTBALL GROUND GENNY + Standard Kit
2 CAMERAS as per normal + Focus puller for Paul’s camera 50’EXTRA track (100, total) @ football pitch
15 foot ZIP UP TOWER with boards
to go under legs as it will be standing on Astro Turf Tue 22 SUPERMARKET/BURGER
BAR/CANAL/MOTORCYCLE GENNY + Fluorescent banks + 2 ¥ Kinds of Fluorescent Tubes
(supermarket – Philips TLD 80w/83 tubes)
8¥ 8’ PHILIPS DAYLIGHT tubes for Burger bar Bickers motorcycle towing rig
Wed 23 PARKER HOUSE Standard Kit Thu 24 PARKER HOUSE
Standard Kit Fri 25 PARKER HOUSE
Standard Kit WRAP
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Figure 9.1 The Queen’s Nose: technical schedule; page 3
some equipment, they then have sufficient time to make the necessary arrangements.
Figure 9.2 (see pages 60–61) is a copy of the camera equipment list as delivered to the production office of The Queen’s Nose just after the technical recce. Not only is all the equipment very accurately detailed but the assumed supplier is noted, as these may differ for various parts of the kit. For this production we had two cameras throughout, for two reasons. First, this was one of the first series to be shot in the UK using digital cameras so a back-up was considered prudent. The cameras have proved to be just as reliable as film cameras so I have never taken a sec-ond camera for this reason since. Secsec-ond, the director envisaged some two- or even three-camera set-ups so it was very convenient to keep a second camera with us at all times.
The accuracy of this list is important for it is quite possible that some-one in the production office may have to book the equipment while all the informed staff are out of the office. It is only fair to them that you have produced a list which can be read down a phone by someone who knows little about camera equipment. This is not only a kindness to them but also an insurance policy for the DoP.
In addition, the pages are clearly numbered as to page number and the full number of pages (see the bottom right-hand corner of the page) and at the top-right corner the publication date is shown. This is very important. The DoP will quite likely deliver a number of updated versions of the camera equipment list as the production nears the first day of principal photography. It is very important that anyone on the production who needs to refer to the list can easily see which is the latest version.
The camera equipment list, as illustrated, is exactly as written in my Psion palmtop computer. A simple cable is available to connect the Psion to almost any desktop printer. Using this cable a DoP can return from a recce and, say over lunch, print out various lists etc. in order to have them ready for an after-lunch production meeting. This kind of organization is appreciated by the production.
You will see in Figure 9.2 that I supply my own telephoto lenses. In order that non-technical people understand I call them telephoto but, in fact, they are not. They are true prime lenses, that is, the lens must be as long as the focal length and not telescoped to a shorter physical length.
I have always liked the images from big prime lenses and believe it is more attractive than from some telephotos with all the extra glass they require. I have had all three lenses modified to Universal mount so I can quickly fit an adapter to either a Sony mount for digital or an Arri PL mount for film. A Sony DVW camera fitted with my 500 mm lens together with its lens hood, the lens now seeming to be 650 mm long, is quite a sight.