Today in class we discussed the actual functionality of traditional camera coverage strategies. Whilst this isn’t a finite structure that one cannot stray away from it does prove logistically valid. Whilst in a classroom setting one may have extended periods where they can move the camera around in alternative positions until the scene is acquired, this is not the case in a professional film shoot. There are time and monetary constraints therefore the director must also consider the most efficient way to successfully cover a scene. For instance:

The Wide shot (Establishing/contextualising shot)  is filmed first for multiple reasons:

1. If the film crew were to run out of time at least we would have coverage of the entire scene.
2. We need to establish a lighting scheme through the wide shot that we can match in the more intimate shots.
3. The wide shot is also a good point of reference for continuity so that we can match it with the more intimate shots also.

We also undertook an exercise whereby we were given a scene to film. The constraints however, included that we had to edit in camera (pressing start and stop as substitutes for cuts. We also only had a 3-5 shot constraint. The constraints were interesting because, although we wanted the scene to be aesthetically pleasing we first had to think about logistics in terms of the continuity of the shots. I learnt a lot from this exercise, specifically due to a forced heightened sense of focus on continuity.

Epiphany of the week: Oh so many! I think I will go with my recognition that logistics of camera coverage and realizing that your camera crew need to work efficiently. Alfred Hitchcock planned out every single element within camera coverage before entering the shooting space… this must mean a planning of the most efficient yet productive way to shoot. Spontaneity and creativity is great, but without logistical understanding you cannot successfully deliver that creativity.