Principal photography

Principal photography is the phase of producing a film or

television show in which the bulk of shooting takes place, as
distinct from the phases of pre-production and post-production.[1][2]

Personnel
Besides the main film personnel, such as actors, director,
cinematographer or sound engineer and their respective assistants
(assistant director, camera assistant, boom operator), the unit
MTV movie production takes place
production manager plays a decisive role in principal photography.
on location in Newark, New Jersey
They are responsible for the daily implementation of the shoot,
managing the daily call sheet, the location barriers, transportation,
and catering.

In addition, there are numerous roles that serve the organization and the orderly sequence of the production,
such as grips or gaffers. Other roles are related with the preparation of a daily production report, which
shows the progress of the production compared to the schedule and contains further reports. This includes
the storyboard with instructions for the copier and the editing room, the continuity notes for compliance
with editing details and a report on unforeseen events. In addition, a sound report is created, which, similar
to the production report, contains detailed information on the recorded material, but with regard to the
sound recordings. Additional typical roles during filming include the script supervisor to record changes to
the script and the still photographer to produce images for advertising and documentation.

Process

Preparation

Principal photography can take place in a studio or in an actual setting, and the choice of location depends
on artistic and economic aspects. While shooting in a sound stage offers more accurate planning,
constructing sets may be expensive. Costs and artistic reasons (see French New Wave and Dogma 95) are
the main drives behind filming on location. However, outdoor shooting requires more effort because
equipment and personnel must be transported to the location. In the early days of cinema, filmmakers tried
to film outdoors as much as possible, as sunlight was needed to ensure adequate exposure of poor-quality
early film stock; nowadays, due to the increased use of CGI, more shooting is done in a studio.

Depending on the laws of the respective country, the producer must obtain filming permits from private
individuals, authorities or companies for the selected locations before filming begins. An extensive
production may require closing the area with signs and diversions. A filming permit within an urban area
usually requires a fee, which depends on the complexity and scope of the filming as well as the
attractiveness of the location.

Once the locations have been set, the screenplay is summarized in a script breakdown with all information
relevant to the shooting. The organizational sequence of the shooting is then created in the form of the
shooting schedule, specifying the locations, decorations and the necessary personnel and equipment, sorted
by date and time. The sequence of the scenes to be shot normally does not follow their chronological
sequence in the script. The shooting schedule usually depends on organizational aspects such as the
availability of the actors and locations, and, in the case of outdoor shots, on the season, weather and light
conditions. To save money, the production team will identify all scenes that involve the same location, cast,
and crew and group them together as much as possible so they can be shot together all at once.[3][4] Since
actors are normally paid a "day rate," it makes more sense from a financial perspective, for example, to
shoot all three scenes involving a particular actor and location on a single day (even though the scenes may
occur in completely different parts of the script), rather than paying the actor's day rate three times to bring
back the same actor to the same location on three different days just to speak a few lines each day.[5]
Shooting scenes out of order helps avoid the cost of having to repeatedly travel back to the same locations
or reassemble the same sets, but requires considerable effort from both cast and crew members to maintain
the illusion of continuity.[6]

There is also a production breakdown for each day of shooting, which summarizes the relevant information
from the schedule and lists exactly who has to be on the set for a planned daily shoot. At the same time, it
provides information about the scene numbers, script pages and locations relevant for the day, as well as the
necessary equipment.

Feature films usually have insurance in place by the time principal photography begins.[7] The death of a
bankable star before completing all planned takes or the loss of sets or footage can render a film impossible
to complete as planned.[8] Furthermore, professional quality movie cameras are usually rented as needed,
and most camera houses do not allow rentals of their equipment without proof of insurance.[9]

All this meticulous planning is necessary because time equals money. Every hour spent on set resolving
issues which could have been resolved earlier—while the cast and crew wait for filming to resume—equals
thousands of dollars which will need to come out of some other portion of the film's budget. As of 2012,
the average "day cost" for an American film ranged from as low as $25,000 for low-budget films, to
$35,000-$60,000 for midlevel budget films, to as high as $100,000-$250,000 for blockbuster films.[10]

Main shooting

Principal photography is typically the most expensive phase of film production, due to actor, director, and
set crew salaries, as well as the costs of certain shots, props, and on-set special effects.[1][4] When filming
begins, the preparation time is over: the final version of the script is done, the cast has been selected, and
the buildings and structures on set have largely been completed. The start of filming generally marks a point
of no return for the financiers, because until it is complete, there is unlikely to be enough material filmed to
release a final product needed to recoup costs.[4] While it is common for a film to lose its greenlight status
during the pre-production phase —for example, when an essential cast member drops out or unexpectedly
dies, or some scandal engulfs the studio or an actor —it is rare for the film to lose financing once principal
photography has begun.[4]

Immediately before a take is shot, the scene is rehearsed with camera, light and sound. Most American
productions follow a specific procedure:

The assistant director (AD) calls "picture is up!" to inform everyone that a take is about to be recorded, and
then "quiet, everyone!" Once everyone is ready to shoot, the AD calls "roll sound" (if the take involves
sound), and the production sound mixer will start their equipment, record a verbal slate of the take's
information, and announce "sound speed", or just "speed", when they are ready. The AD follows with "roll
camera", answered by "speed!" by the camera operator once the camera is recording. The clapper, who is
already in front of the camera with the clapperboard, calls "marker!" and slaps it shut. If the take involves
extras or background action, the AD will cue them ("action background!"), and last is the director, telling
the actors "action!". The AD may echo "action" louder on large sets.

A take is over when the director calls "Cut!" and the camera and sound stop recording. The ritual helps the
general concentration at the location and allows saving costs by only recording the scene rather than the
preparation for the scene. Each shot is repeated until the director is satisfied with it.

In addition to the actual film crew that does the principal photography (unit), there may be a second team
(second unit), which in turn comprises a full film crew with its own director, especially for more complex
productions. The second unit works independently but in coordination with the director of the overall
project and is responsible for city and landscape shots, establishing shots and intermediate images as well as
for mass, action and stunt scenes.

The length of the filming depends not only on the length of the film, but also on the number and type of
locations. The shooting time for a 90-minute film in Europe is 12 to 100 days. In the USA, depending on
the film project, a shooting time of 15 to 20, 40 to 50 or, for larger productions, 80 to 100 days is used as a
basis for studio productions, although in other countries the shooting takes considerably longer. Because of
breaks in recording and subsequent shoots that are difficult to calculate, the principal photography is usually
planned longer than actually necessary.

Once a film concludes principal photography, it is said to have wrapped, and a wrap party may be
organized to celebrate. During post-production, it may become apparent that some shots or sequences are
missing or incomplete and are required to complete the film, or that a particular scene is not playing as
expected, or that a performer needs to be replaced entirely. In these circumstances, additional material may
have to be shot.

Follow-ups

When using analog cameras, the exposed photographic film from a day of shooting is rushed to a
photographic processing lab for development overnight, and then the developed raw footage is viewed by
the director, cinematographer and producer the next day to determine whether reshooting is needed. With
digital cameras, the so-called dailies can be viewed immediately after they are recorded. If the material
proves to be inadequate or faulty, a re-shoot will be carried out on the day of shooting (digital) or on the
day of the viewing (analog).

Sometimes, additional shooting is needed after principal photography is complete, because the shots already
made have subsequently turned out to be unusable or additional shots are required. For example, serious
deficiencies in the narrative structure may become clear only after filming (such as when a rough cut of the
film is put through test screenings with audiences who have not had the benefit of reading the screenplay in
advance). Other reasons for re-shoots may be the production company's desire to make the film more
commercially appealing, or the replacement of actors whose performance was lacking or who no longer fit
the project after significant revisions to the film's plot or tone.

If the new material has already been shot once or is substantial, this process is referred to as a re-shoot.
However, if the material is new and relatively minor, it is often referred to as a pick-up.

References
1. Manriquez, Antonio; McCluskey, Tom (2014). Video Production 101: Delivering the Message
(https://books.google.com/books?id=bDbvBQAAQBAJ&pg=PA34). Peachpit Press. p. 34.
 ISBN 9780133819915. Retrieved 18 August 2019.
2. Lee, John J. Jr.; Gillen, Anne Marie (1 November 2010). The Producer's Business
Handbook: The Roadmap for the Balanced Film Producer (https://books.google.com/books?
id=GMNa-fi3YIAC&pg=PA218). Focal Press. pp. 218–. ISBN 9780240814636. Retrieved
29 April 2012.
3. Wurmfeld, Eden H.; Laloggia, Nicole (2004). IFP/Los Angeles Independent Filmmaker's
Manual (https://books.google.com/books?id=OXMqBgAAQBAJ&pg=PA52) (2nd ed.).
Amsterdam: Elsevier. p. 52. ISBN 9781136051067. Retrieved 28 June 2023.
4. Kelly Crabb (2005). The Movie Business: The Definitive Guide to the Legal and Financial
Secrets of Getting Your Movie Made (https://books.google.com/books?id=w-wkvUwc2hYC&
pg=PA276). Simon & Schuster. pp. 276–277. ISBN 0743264924. Retrieved 31 December
2014.
5. Katz, Steven D. (1991). Film Directing Shot by Shot: Visualizing from Concept to Screen (htt
ps://books.google.com/books?id=tNkNacuK8poC&pg=PA103). Studio City: Michael Wiese
Productions. p. 103. ISBN 9780941188104. Retrieved 20 February 2022.
6. Miller, Pat P. (1999). Script Supervising and Film Continuity (https://books.google.com/book
s?id=2QKYAAAAQBAJ&newbks=0&lpg=PA7&pg=PA7#v=onepage&q&f=false) (3rd ed.).
Burlington, Massachusetts: Focal Press. pp. 7–9. ISBN 9780240802947. Retrieved 22 July
2023.
7. Doyle, Barbara Freedman (2012). Make Your Movie: What You Need to Know About the
Business and Politics of Filmmaking (https://books.google.com/books?id=cPzhXug9X4oC&
pg=PA119). Waltham, Massachusetts: Focal Press. pp. 119–122. ISBN 978-0-240-82155-9.
Retrieved March 14, 2023.
8. Stradling, Linda (2010). Production Management for TV and Film: The Professional's Guide
(https://books.google.com/books?id=3kSHCgAAQBAJ&pg=PA78). London: Methuen
Drama. p. 78. ISBN 9781408198742. Retrieved March 14, 2023.
9. Campbell, Bruce (2006). The Complete Guide to Low-Budget Feature Filmmaking (https://bo
oks.google.com/books?id=MWM2cboo9zQC&pg=PA82). Rockville, MD: Wildside Press.
p. 82. ISBN 9780809556908. Retrieved 11 May 2016.
10. Doyle, Barbara Freedman (2012). Make Your Movie: What You Need to Know About the
Business and Politics of Filmmaking (https://books.google.com/books?id=cPzhXug9X4oC&
pg=PA213). Waltham, Massachusetts: Focal Press. p. 213. ISBN 978-0-240-82155-9.
Retrieved March 14, 2023.

External links
Learning materials related to Filmmaking at Wikiversity
Media related to Filmmaking at Wikimedia Commons

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