Fases del proceso de construcción y montaje de la instalación

tion of your shoot. Many times the location is actually dictated by the script, for example, Walt Disney World, a particular shopping center, or the corporate president’s office. In this case, you can avoid the selec- tion process and go right to the scouting procedure.

When the script gives only a general description of the location (for example, the backyard of a suburban home or a classroom), you have to select a few possible locations and scout them with a visit to see if they will satisfy your needs. Beyond the general look or aesthet- ics of the place, each location that you intend to use must meet some specific requirements. You may want to find some forms that will prompt you to remember all of the variables that you want to consider.

During this visit, you may find it helpful to con- duct a survey for later comparison with surveys taken at alternate locations. An excellent way to do this com- parison is to use a digital still camera. Using these still shots, you can sit in the comfort of the office and dis- cuss with other members of the team which site would be better suited to the production and what problems other members foresee. The following is a list of some of the questions you need to ask during the site survey or at least before the final decision is made.

Is the location accessible? A beautiful mountain

meadow or an island in the middle of a lake may be aesthetically perfect, but if your crew can only reach it on foot, by canoe, or by specially equipped four-wheel drive vehicles, you should be prepared to pay for that or look elsewhere.

Can you get permission to use the site? The owner

might let you visit but not necessarily bring your 10- person crew, equipment, vehicles, and the curious on- lookers often attracted by the sight of a video camera. Permission in writing is the safest method. A check of local laws regarding shooting is necessary; a permit may be required.

Can you maintain the appropriate traffic control?

Shooting on a street corner or side street may seem easy during a 7:00 A.M. visit, but how busy would it be if you shot at 11:00 A.M.? Sidewalks or even hiking trails can be full of curious people, or even not-so- curious people, who demand the right-of-way. Make sure that the owner, park officials, city, or highway po- lice agree to let you divert traffic from your location. In many cities, permits are required to shoot on or

near any public property. These permits may also re- quire fees and proof of insurance coverage.

What kind of lighting do you have? Full sun can be

as troublesome as no sun at all. You may need to add fill light to harsh shadows or shaded faces. If artificial light is preferred, can you somehow eliminate the un- wanted light? Time of day may dictate your shooting schedule.

What are the sound characteristics of the location?

Empty rooms without carpeting or draperies may have echoes. In most cases, adding sound is no problem, but taking away sound is nearly impossible. A too- noisy location is undesirable and may require highly specialized microphones. Again, try to find out what the location sound will be at the approximate time of day at which you will shoot.

Is electrical power available at the location? If not,

you may merely need to pack some batteries. But if ar- tificial light is required, you will have to generate your own AC power. This may be accomplished with a gasoline-powered generator, but it is another piece of equipment that adds its own bulk and weight, plus that of its fuel. Also keep in mind that video lights re- quire lots of power and that the generators produce noise as well as power.

Is there an acceptable spot available for camera

placement? Many panoramic views available to the

scout may be unavailable to a cumbersome video cam- era with attached tripod and cables. Make sure that there is a safe spot for your three-legged friend.

Does the location allow convenient loading and un-

loading? Are the doors and hallways wide enough and

the floor even enough to allow your crew to roll in the cases of equipment? Where can you park the equip- ment van? Inconvenient access can add unnecessary and costly time to your shoot.

Will the location be available at any time after the

scheduled shoot? It does not happen often, but even

professionals can lose, destroy, or record over raw foot- age before the edited master is completed. Clients or producers can change their minds about how the pro- gram should look and sometimes require a return to the location for a reshoot. Even if this is a rare neces- sity, it is a good idea to pick a location that allows a possible return for additional shooting.

What crew conveniences are available? Will the

122 Chapter 6: Part One: Preproduction

quate water, bathroom facilities, shade, or a cool spot to rest. Full sun for a full day or no sun at all may lead to some very unhappy crew members. If talent has been hired to be on location, they may have special needs that require special facilities, such as a dressing room trailer parked at the site.

Will the shoot be sent via microwave or satellite to

another location? Can the signal that you send to

the other location be seen, or are there buildings, mountains, or interferences that may require special arrangements?

Is safety and security an issue? Can you physically

watch all of your equipment (and perhaps all your peo- ple) to guarantee safety throughout your stay? How cold or hot does it get at the location? Does your insur- ance include coverage for shooting at the location or under the circumstances?

Graphics and Props Preparation

The preproduction stage is the appropriate time to or- der the graphics and other necessary materials so that they will be ready before actual production begins. For most productions, this will include artwork for studio cards that do not have to be recorded in a studio, pho- tographic work for slides, film footage (for example, animation) or computer-generated animation, or graphics. In large production houses, most of these things are done in-house by staff artists, videographers, cinematographers, or computer specialists. Smaller production units often have to find specialists who can provide these materials as subcontractors.

This stage of the production process is the appro- priate time to locate costumes, makeup accessories, set props, and other items necessary for the production. If sets or props need to be constructed, initiate the pro- cess at this point.

Clearance on Copyright Materials

If you expect your video project to really be yours after it is completed, it is best to make sure that all the mate- rial you use has been created by you or people who are working for you on the project. If you or one of your coworkers uses material owned by others, you may

find yourself spending time with lawyers instead of looking for more video projects to produce.

The use of other people’s material without their permission is a copyright infringement; if you are caught doing it, you have created a legal problem for yourself. The problem arises very often when copy- righted music is used without permission. Four simple approaches will help you avoid this problem:

• If you need music for your program and the music you choose is copyrighted, contact the copyright holder (the record company, music publishing company, or individual artist) in writing and ask for permission to use the material. In your request, be as specific as you can as to your intentions. Name the material, the excerpt (if appropriate), the program it will be used in, the distribution or exhibition plans, and any other relevant information. If you do this far enough in advance of your postproduction time, you may get an approval for use of the materials (referred to in the publishing business as “clearance”).

• Use material that is in the public domain— material that has never been copyrighted or material whose copyright has expired. Material that has not been copyrighted is probably available from your local amateur composer or music student. They may have excellent material already composed or may be able to compose music tailor-made for your project. Material composed long ago, such as old folk tunes (“I’ve Been Workin’ on the Railroad” or “Oh, Susanna”) or classical music that could be performed especially for your project, is generally available for use, since the copyright has long since expired. (Bach and Beethoven are rarely offended when you use their material.)

• Purchase the material or subscribe to a library service that provides music or other material such as sound effects. These services work in two ways. One way allows you to use the material as often as you need to use it; you buy

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