the Newbies Guide to being on a film set

[merlocmod.livejournal.com]

A working film set is a weird and wonderful place. Much of it will not make sense to the uninitiated – and my own experience is only limited. If after reading this, you have any insights to share or questions to ask, please use the comments to do so! I’m always interested in learning more, whether that’s through hearing from you or through trying to satisfy your curiosity.


Third Assistant Director Marie Devautour wrangling the extras in the courtyard at Pierrefonds

the process

The following is a broad summary of the filming process, as far as I understand it. Feedback, suggestions, and further explanation is welcome!

• The crew set up the overall location, including props, lighting, and other equipment. In this case, they remove or hide anything that’s not medieval enough.
• The Director, the Director of Photography (DoP), and others block out or plan the scene, usually based on storyboards. If complications such as extras, horses, stunts, or CGI are part of the scene, then the relevant experts will be involved.
• The actors (and extras) ‘walk through’ the scene, while they get a feel for where they need to be when, and the lighting is adjusted, the overall scene is fine–tuned, etc. Markers are put down for where the actors need to stand in order to be in focus for both the camera and sound. Once an actor has an idea of what’s needed, they might be replaced by a stand-in for lighting checks and so on.
• The actors rehearse a few times, gradually building up to the required levels of emotion and energy. Various key crew members are also ‘rehearsing’ their parts in the whole, along with the extras. Sound levels are checked and adjusted. The Director is working on how it all comes together to form the scene, and adjusts the details as necessary.
• The main action of the scene is filmed. This will usually involve a few takes; even if it goes well, it’s good to have a ‘just in case’ back-up. Adjustments can be made from one take to the next. The Director watches via monitors, so they can see the actual results on a screen, and get a feel for the final product. The Third Assistant Director (Marie) either directs the extras if it’s a complex scene, or also watches the monitors for things such as unintended appearances from the mike and other un–medieval objects.
• Once the main action is done, it’s time to take more footage of the scene from other angles, close–ups of the individual actors or other details, and so on. They end up running through the scene a fair number of times! Actors being filmed in close-up may be responding to their acting colleague or to a stand-in, or to nothing at all. Extra footage will be required if there is serious CGI involved, or if there are stand-ins for the actors while working with stunts, horses, and so on.
• Once the Director feels they have all the raw footage they need from which to create the scene (through editing), they call it a print or a wrap. The cast head off to their next task, and the crew begin un–setting the scene. There is always a requirement that they leave the location in the same state they found it; often, I should think, they leave it in a better state as they’ll have had to clear any litter away!

A few people, such as the Director and DoP, are pretty much on duty the whole time. Otherwise, the majority of the cast, crew and extras have a lot of waiting around to do. Cast and extras are required to be in costume and make-up, and ready to roll, with a large margin of time allowed. Crew are expected to have everything set up as much as possible beforehand. Everything is done on a tight time schedule, so when someone or something is needed, they need to be ready to go.

It follows that an actor’s job isn’t just about the few minutes of actual acting in a day, but in being prepared and available within the schedule. They are still ‘working’ even if they’re heading off to lunch or back to costume for a change; it’s their job to do all of that when required, and to not hold up the schedule by creating delays.


Director Alice Troughton and Director of Photography Dale McCready blocking out a scene, with the involvement of the horse expert (the guy in blue)

what to do and what not to do

If you have the privilege of watching while filming is occurring, then you’ll soon realise that there are things you can do to hinder and things you can do to help. Much of it is really obvious, and a case of either common sense or courtesy. But everyone gets it wrong on occasion, and alas I’m no different.

This is intended only as a guide for people new to the filming process. Those of you with experience might think some of this is more or less necessary than other bits. As above, any further ideas or suggestions or explanations will be welcome!

• You will be asked to be silent and still while the actual filming is occurring. This means being as quiet as humanly possible and not even moving around. It’s about not spoiling the sound recording, and not distracting the people who are working.
• In France, they generally ask in both French and English: ‘Silence, s’il vous plait! Silence, please!’ If they need to silently indicate that filming is occurring, they will rotate an arm or hand, meaning that the film is ‘rolling’. A finger raised to the lips needs no explanation in any language! Once the filming is done, they will call out a thank you: ‘Merci!’ If there is going to be only a very brief break to reset something before filming again, they will call, ‘Stand by!’ and you will be asked to remain quiet during this pause.
• You may find that a crew member or two will still walk around or work on something even while filming is going on. Most will pause, turn off anything mechanical, or otherwise quit working. However, they’re the ones who can judge what’s acceptable or necessary, and what isn’t. Maybe one person walking around is acceptable; but if we all did it, it wouldn’t be acceptable at all. It’s not safe to assume that if a crew member is breaking the ‘silence’, it’s all right for a spectator to do so as well.
• You will also be asked to be quiet and still while the actors are rehearsing. Again, this is a matter of respecting the people who are working, whether that’s the actors pretending they’re in Camelot, or the sound guys judging sound levels, and so on. It’s usually all right to be taking photos during rehearsals, unless you are specifically asked not to.
• If at all possible turn all electronic devices to silent, including phones and cameras. And remember that the snap of a camera shutter or the whirr of an automatic focus counts as breaking the silence.
• Do not use flash photography, especially not when the lighting is being set up and adjusted, filming is actually happening, or horses are involved. You can imagine, I’m sure, the un–medieval effects of a flash on the DoP’s carefully crafted mise–en–scene, and the dangers of possibly spooking the horses.
• Do as you’re asked, even if it makes no sense to you. The crew are not wrangling us just for the fun of it! (Mmm, but there’s an idea…)
• Respect the barriers. Do not cross a barrier, even if it’s just a flimsy bit of tape and your Object of Affection is on the other side. Self–restraint is called for!
• If at all possible, there will be a place set aside from which you can safely witness the filming. You will be moved around, as they work on filming from different camera angles. This is important not only so that the camera doesn’t see you, but also the actors. The human eye is naturally drawn to movement, pattern, or contrast; if Merlin gets distracted while Arthur is talking to him, it had better be for some plot–related reason rather than because someone is trying to catch Colin’s eye. Even if such a wish is so entirely understandable.
• Respect the fact that actors need to get into a certain frame of mind and state of emotion in order to do their job – and maintain that for perhaps hours even if they’re only actually acting for minutes.
• Respect the fact that actors are often all too aware that, as Bradley once memorably put it, their job requires them to make idiots of themselves on a daily basis. Self–consciousness doesn’t film well; try not to provoke it in your Object of Adoration.
• Respect the fact that the main actors in particular simply will not have the time or energy to meet–and–greet the fans. They’re all nice people, and they’ll do what they can, but they’re there to work. And it’s far easier on all concerned if they don’t make exceptions.
• Since the number of fans visiting Pierrefonds has increased, it has become an explicit request that fans don’t try to stop anyone (Colin or Bradley in particular) as they move to and fro. Please respect this, even if it seems to you that they’re off duty. Of course you can say hello if they pass nearby, and you may well get a nice smile in response – but it’s probably best to not even expect that much, let alone anything more.

OK, I think that’s enough with the guidelines on behaviour! I'm sure you all get the idea.


some tasks are more fun than others... the crew in action

the fannish gaze

So, I’ve been thinking a lot about this. As you may have gathered! It may seem a bit odd that actors might mind if they’re being watched while filming. After all, it’s their job to be watched, isn’t it?

However, as Ann has pointed out (on the merloc website), filming for television isn’t like theatrical work, where the actors want, expect, and indeed interact with an audience. It’s a very different situation and discipline. The acting and the focus while filming tend to be close and detailed, rather than large and expansive.

Also, even though there are usually heaps of crew around, and various people staring right at the actors and carefully considering their performances, these many gazes are all at least one step removed from the Objects. The DoP is looking through his camera at the overall scene. The Director is watching via a monitor, often at a bit of a distance. Most of the crew are paying attention to other things entirely, or only watching in a broad, unfocussed way. They are watching the whole, if you see what I mean.

However, when there are fans and other spectators around, we tend to watch the actors very directly indeed. We are watching specific people. That has to feel different for the person being scrutinised. I mean, we all know that prickling feeling of being watched, don’t we? It’s got to be hard to ignore, especially when your job involves opening yourself up emotionally.

I think that even if the actors are used to being watched by the crew and everyone else involved in the filming process, the quality of their gaze is different to ours. And maybe we can be aware of that. I don’t know what if anything we can do about it, but maybe we can take that into account when pondering why some actors cope with it better than others.

Just my thoughts, for what they’re worth! Again, please feel free to jump in and discuss – preferably as respectfully as possible in regard to all concerned!


Arthur: 'I thought I told you to stay at home, Merlin... And why did you bring all your mates?!' (photo by Nick Briggs for BBC/Shine, used with respect but without permission)

ETA: Apologies! I should have said this before...

Thanks are due to nenimefish for all her support for me and for Merlin Locations. You are the awesomest of sauce, hon! ♥