Rehearsing On The Set
By Peter D. Marshall, Sat Dec 10th

In the last article, I discussed Blocking - the first part of afour stage process of shooting any scene:

1) Blocking - determining where the actors will be on the setand the first camera position

2) Lighting - time for the DOP to light the set and position thecamera for the first shot

3) Rehearsing - camera rehearsal of the first set-up with theactors and crew

4) Shooting - shooting the first scene (then repeat the process)

In this article, we will discuss the Rehearsal process.

When the DOP has finished lighting, the 1st AD calls the actorsback to the set for the rehearsal. This is when all the elementsof the scene are rehearsed together - actors, camera, sound,stunts, effects etc.

When the actors arrive, it is important to tell them of anychanges that have happened since the blocking. For example: inthe blocking, an actor might have stopped on the left side ofthe window and turned around for his line. But during lighting,the DOP had to move his mark to the right side of the window.

Because the rehearsal process is for both cast and crew, thefirst rehearsal will sometimes be a stop-and-start rehearsal: atechnical run-through with the actors (especially if there arecomplicated camera moves.) The actors should walk through theirpositions and let the Camera Operator stop them to adjust theirend marks or let the Sound Man find a better position for hismic. Once the crew is happy about positions and lighting, begina full rehearsal.

During this first full rehearsal, watch the camera movement andthe placement of the actors in the frame. Are you getting whatyou had imagined? Should you tighten up the lens? Should youdelay the dolly in? Should you change the actors positionsslightly?

Once you are happy with this rehearsal and the crew have madetheir adjustments, begin another rehearsal - and watch theperformances. If this is a TV Series, this will probably be yourlast rehearsal, so concentrate on the actors and make your notes.

Unless there is a technical problem, I like to shoot after thesecond rehearsal. (I hate great rehearsals

- why didn't we shootit!) I usually don't give notes to actors during the rehearsalstage unless it is about movement because cast and crew willonly give 100% once the camera starts rolling - and that is theonly time you will see if the shot really works.

The 1st Ad calls for Finals and the "pretty department" goes towork on the actors. This is also the time any technicaladjustments are made: the camera crew gets final focus marks andthe DOP adjusts his lighting.

During the first take, you watch everything - camera movement,performances and background action. Does the shot feel right?are the actors making the right choices? does the dolly movecome at the right time? Very rarely does the first take getprinted - this is your first true rehearsal with cast and crew.

After the first take, make any technical adjustments and talk toALL the actors. This is the first time you have seen themworking up-to-speed and it is important that you give them allsome feedback.

Talk with the DOP and the Camera Operator if you have anyconcerns about the camera moves or the framing. (The DOP usuallywatches the monitor with you and if he sees anything wrong hewill deal with it after each take.) Discuss the extras with the1st AD or any line changes with the script supervisor.

If things are going well, the second take will be your firstprint. Make a note of where you want changes and focus on thoseareas for the third take. If you are shooting a "oner", get atleast two prints for safety. If you are shooting coverage,concentrate only on the parts of the scene you want corrections.

Once you are happy with the shot, and you have at least 2prints, move on to the next shot. Tell the script supervisorwhat takes you like or what portions of several takes you likefor the editor.

And the four-part process begins all over again!

About the author:Peter D. Marshall has worked in the Film and TV Industry forover 32 years. In 2000 he created www.ActionCutPrint.com as anonline resource center for Filmmakers where you will findfilmmaking tips, articles and directing workshops. Peter alsopublishes the free monthly ezine, "The Director's Chair."http://www.actioncutprint.com/AS.htmlmailto:pdm@actioncutprint.com