How do you prepare your cast and crew for video production?

The best way to prepare my crew for the production is to have as much information as possible about the project. Gather all the briefings, communication with producer and executive producers will help you to scope of work and measure the workforce needed for the project.

I'm surprised when I'm on set for other productions and the crew and cast aren't clear as to what they're working on. I like to have a little pep talk before we roll: thank the crew for being there, a short description of what we're shooting, call out a few people, talk about safety, etc. Keep it light, make it fun. If I have storyboards, I like to tape them on foam core so we all see the same vision.

I create a collaborative atmosphere and never micro-manage. I hire the right crew of professionals who know what's expected of them. I share the 30,000-foot vision for the project. We determine what we will accomplish each day of production. My crews have been incredible and work long hours to get through our tasks for each day. I feed them well, too, and present healthier options so they'll have all the energy they need. I've been blessed to have had such tremendous crews on all three of my films.

Preparing the cast and crew for a production begins even at the interview and audition process, before hiring. Listening, as well as sharing a creative vision and brainstorming at the beginning, sets the mood and brings people together to create a project that can soar. Once the crew and cast are hired, keeping the lines of communication open, sharing a meal, a film or an outing related to the project as well can be inspiring. As the director, it isn't possible to be all ears everywhere, so having an assistant who can also listen and communicate is a wonderful asset. Problems come up, but solutions can be found - communication, quick thinking, improvisation and a sense of community, with a good meal and a sense of humor will unite.

There's a lot of nuance we can't get into and every production is different. But given my experience on undergrad, grad, indie, and Hollywood sets I've found these broad steps to be helpful: - An actual finished script. You'd be surprised! - A pre-production plan with at least: a lined script, shooting schedule, searchable annotated shot list, lighting overheads, production look-book, pre-filled call sheets, and a cast/crew contact list. You must plan in order to improvise! - As many Key Creative meetings as needed and where needed (locations) to refine the pre-production package. You must plan in order to improvise! - As many rehearsals with Cast as needed. There's not much time on set to discover. But you must plan in order to improvise!

Casting is so critical to a successful project. If you cast properly ? of your work as a director is done. Hiring an actor who makes the script better by going in interesting directions and surprising you along the way is golden.

Ideally everyone involved in any project is getting something valuable from it. If the budget allows for everyone to get paid properly then that’s certainly ideal. But if you’re working with low/no budget then there are other ways to make sure everyone is benefiting. Maybe they’re getting to step up to a role they aren’t yet qualified to be paid for. Maybe they’re heavily collaborating (like as a DOP, actor, Art Director, etc) and this project will be beneficial in reflecting their abilities. With only a few notable exceptions, I generally try to make sure everyone involved has a lot to gain from making it the best it can be.

Talk directly to everyone you can. Often agencies or third parties are involved and things can be lost in communication. So always try and speak directly to cast or crew and make sure everyone is on the space page.

When creating corporate videos or branding/marketing videos with businesses that aren’t trained actors, I have found it very helpful to brief them ahead of time with the vision for the video to make sure you can prepare them for the role they will play on camera. This would include at the very minimum a shot list and advice on how to prepare to present on camera, e.g. what to wear, hair and makeup, and then preparing the space for filming as well as having media releases on hand if necessary. The truth is that due to the dynamic nature of working with a business, they may not have the time to fully digest a storyboard and creative brief unless it is for a fully fledged production. You do have to be ready to make things up as you go!

Share the callsheet as soon as possible! I understand typically it is sent the night before, but that doesn't have to be the norm. If a callsheet is not ready, taking time to share details with crew members will help them pack to be more prepared and need to ask less questions on set. For example, if you can tell the makeup artist how many talent they can expect to work through in a particular time frame, that helps. If reference images are sent ahead of time, that is major help. That means less time the AD has to be checking on ETAs and less time the makeup artist may need to step away to ask clarity from the director on their vision. A leader taking time to check in with crew ahead of time also raises morale and trust.

A thing that I always find helpful is to have a checklist with all of the above. In order to not miss any of these, for example having meetings in which the plan is throughly spoken and everybody is on the same page. Sometimes, good people even find faulty bits within your plan, and it is only an opportunity to grow.

I've always tried to make detailed plans and schedules for the cast and crew to ensure everyone has clear information. Most of the time I will also make more specific details for specific people/departments which might include information like technical plans or references to best prepare the person for the job.

Several pre-pro meetings should include a rep from every unit, role and phase. Having everyone’s input when building schedules will minimize your own blind spots.

For a video production to be successful, you will also need a competent Production Manager/Assistant, which in the Theatre, is otherwise known as stage manager. The process of Planning and scheduling in terms of cast and crew confirmation, detailing of script, and breakdown of scenes, maximising locations, arranging for props, costumes, equipment, and other resources etc are very crucial aspects of a video production shoot process and a good production manager/assistant can serve as the middleman between the director/producer, the casts, and the rest of the team.

I don’t like talking about lines, actions and feelings in the same spectrum. A lot of directors/producers get this wrong, for example feelings should not even be spoken about. Good directors find a way to imagine a feeling, and create that image in somebody’s mind, not speak about it.

Even in the documentary/ non-fiction genre, interviewees will often need prepping, right from the colour of their clothes (avoid wearing red, checks, stripes, etc) to getting them relaxed and comfortable. Ask them to begin some answers by introducing the context of each question, so that the interviews become usable in the edit. Advice the interviewer and interviewee to observe two-second pauses after each answer to facilitate easy edits. Is each character looking left of camera, right or straight in? This is best decided in the beginning itself, and used as reference for setting up. Also, the basics of journalism apply here too... To get more usable bytes, frame your questions to begin with Who, What, When, Where, Why and How.

With your Actors, be abundantly clear whether or not you will have Improvisation on set. Either method is fine! You can stick to the script, down to every last syllable, like the Coen Brothers did on "The Big Lebowski." You can keep things loose, and make it like a Jazz Solo, the way Larry David did on "Curb Your Enthusiasm." The Coen Brother and Larry David are about Excellent Writers! However, from the beginning, make sure the: Writer / Director / and Actors are all on the same page, regard which approach will be used.

You need to be prepared yourself before you're able to lead your team into a production. Prep, planning, scheduling, surrounding yourself with like-minded capable people, experienced ... it all helps. You get better each time. Every film venture you learn a little more to employ on the next project. Plus ... you need to be able to roll with the punches ... you need to think outside the box and get creative when faced with adversity.

Once the task have been assigned to the stakeholder you have to provide as much info as possible. Brief them, prepare meetings between stakeholders involved in the project. For example if you have to color grade a commercial you need to deliver the directors intention of the commercial to the colorist to maximise the time hire for the task.

A useful tip that I could give on this level, is that at any point during the process imagine a potential risk, note it down and asses it with your producer and team when the time is right.

Making sure that all the departments know each others' limitations and requirements is a big part of avoiding contingencies and preparing for them. Having lines of communication open between different departments on the run up to the shoot is very important. Make sure that you have meetings and discussions with every member of the crew that has been on-boarded. Frequent updates regarding changes, challenges and intentions makes sure that everyone on set is equipped to deal with contingencies as they arise on shoot day.

Shooting a news feature or documentaries requires a solid contingency plan, and this means, the script may be tweaked. Spontaneity is a spice to the news genre. The characters may change, and you may walk into a big scene that no one could have envisaged. The logistics and budget may be overstretched. A lot could go wrong or even get better. I shot a piece in a community where we thought we were only meeting a family who were expecting us, unknown to us that the neighborhood is a notorious one with different gangs. Our contact person made no prior arrangement nor did she give a hint as to what we were walking into. We spent more money "settling" different groups. We also had to improvise and readjust our plans for the shoot.

The most important start of the day (after coffee) is the safety meeting! Be there, pay attention and don’t be rude by chatting in the BG. Even if you’ve heard it every day for a month; be there for yourself and others. If you or your department has a special scene or new equipment on set for the day, ask the producer to let you add to the meeting or make sure they have your bullet points as a guide.

This is a huge reason to include the head of every unit in every pre-pro meeting. You may not think a motion graphic artist has any business in a logistics meeting but you’d be pleasantly surprised when they bring up a point you otherwise would have never thought about it they may have the fix to an obstacle brought up by the DP. Include everyone and give them all ownership of the entire process.

As director, I started adding at least one key image or video example that we are shooting for. That has clarified a lot for my crew.

In my role as a director, it is customary for me to provide individual assessments of both actors and technicians following the conclusion of a shoot. These evaluations concentrate on delineating the strengths and areas for improvement for each individual. I also take into account their suitability for various genres in future projects, while also reflecting on their overall performance throughout the collaboration. This comprehensive feedback process aids in facilitating productive growth and constructive future collaborations within the industry.

The worst case scenario I witnessed, as an actress. Well, I was still a student in a course (so yes, I know both sides, and I heard already from actors, that it is not bad to have that kind of knowledge). Our teacher came into the class, completely drained, because he just got a call from a back up actress from a production, who had an accident. So the main one was sick, this one had an accident. He was looking into the round and asked me to do it. I did not think, that it was such a big role, that I had to learn a script and agreed. I had 5 days to do so. How I managed it, I have no clue until today. What I want to say with it is, that even with the best preparation, something might go wrong. When it happens, breathe and keep calm.

Share you look from camera with your Lighting Crew / Gaffer. So he gets a god understanding of what would be the specific equipment to use depending on Location. Make sure you are both on Logistic.. In case you need bigger setup's like Cherry Pickers or some thing else that need to be pre-rigged Lets Goooo