Production week two: problem solving and coverage triage

By the second week of a shoot, the plan meets reality. A location falls through, rain arrives on an exterior day, an actor is sick, a light fails, the day runs late and the director wants one more take of everything. The best capstone DPs are not the ones who never face problems; they are the ones who solve them calmly and protect the film. This lesson covers common production problems and how to respond, how to triage coverage when time runs out, how to decide on reshoots and pick-ups, and how to keep the crew safe and motivated when everyone is tired. Problem solving is assessed directly in the capstone rubric, so record every significant decision in the production log.

A method for problems on set

When something goes wrong, use a simple sequence rather than reacting on instinct.

• Stop and check safety first; never let a time problem become a safety problem.
• Define the problem precisely: what is lost, and what does the story need from this scene?
• List options quickly with the director and first AD, including doing less.
• Choose the option that protects the story at the lowest cost and risk.
• Communicate the decision to the crew clearly.
• Record the problem and the decision in the log.

Weather

Exteriors are vulnerable to rain, wind, cloud and changing sun. Plan for weather in prep (Lesson 6) and decide early on the day.

• Check the forecast the evening before and again at call.
• Have a cover set ready: an interior scene that can be shot instead.
• For changing cloud, use large diffusion overhead or frame tighter so the change is less visible; match by shooting the wide shots in consistent conditions.
• For light rain, decide whether rain can become part of the scene; protect equipment with covers and keep electrical connections off wet ground.
• Stop work for lightning, high winds near rigging or lifts, or slippery surfaces near edges, as CINE-340 described.

Lost locations and late changes

Locations fall through: an owner changes their mind, a business needs the space, a permit is refused. Have a backup location for key scenes if possible, and keep the location agreement and contacts handy.

• Ask what the scene really needs from the location: a window, a long corridor, a sense of isolation.
• Look for a substitute that gives those elements, even if it looks different.
• Re-plan the shot list and lighting for the new space quickly; simplify rather than recreate.
• Check that the new location has a permit or agreement before shooting there.
• Update the clearance log.

Equipment failures

Lights, batteries, monitors and even camera bodies fail. Keep spares of small items, know the rental house's emergency number and have a plan B for each key item.

• Carry spare batteries, media, cables and lamp bulbs.
• Know which set-ups depend on a particular light and how to replace it with available units.
• If the camera fails, stop, diagnose calmly and call the rental house; do not improvise repairs that could damage the camera or the footage.
• Record the failure and the replacement in the camera report so the colourist knows about any change.

Coverage triage when time runs out

Triage means sorting what remains by importance and doing the most important work first. Use the priority column from the shot list (Lesson 3).

• Must-have shots carry the story; without them, the scene does not work.
• Should-have shots improve the scene, such as a second angle on a key line or an insert.
• Nice-to-have shots add polish, such as extra cutaways or a beauty shot.
• Combine set-ups where possible: a moving master that ends in a close-up can replace a wide and a single.
• Simplify lighting for the remaining set-ups: light the space once and shoot several angles inside it.
• Consider a oner for a short scene if blocking allows.
• Drop nice-to-have shots first and tell the director exactly what you are dropping.

Reshoots and pick-ups

Sometimes a shot cannot be saved on the day: a focus problem discovered in dailies, a continuity error, a performance the director is not happy with. Decide quickly whether a reshoot is worth it.

• How important is the shot to the story?
• Can the editor work around it with other coverage?
• Is the location, cast and equipment still available?
• How much time does it cost, and what else is lost?
• Can it be shot as a pick-up on a later day with a small crew?

Pick-ups are short shoots after the main schedule, often for inserts, cutaways or a single missed shot. Plan them with the editor after a rough assembly, so you shoot only what is truly needed.

People problems

Long days and pressure cause friction. Problems with people often affect the film more than problems with equipment.

• Address conflict early and privately; do not argue in front of the crew or cast.
• Keep criticism specific and about the work, not the person.
• Watch for fatigue: slower work, mistakes, short tempers. Fatigue is a safety issue.
• If a crew member is sick or absent, redistribute roles and simplify the day rather than overloading others.
• Follow the program's code of conduct and reporting procedures for harassment or discrimination.

Keeping momentum and morale

Momentum is a resource. A set that moves steadily gets more done than one that stops and starts.

• Announce the next set-up early so everyone can prepare.
• Celebrate small wins: a difficult shot completed, a scene wrapped early.
• Keep meals on time.
• Wrap on time when you can; finishing an hour late every day wears people down fast.

The second week's log

By week two, the log is long. Make sure it records not only what happened but why decisions were made. Your reflection (Lesson 12) will draw on this, and assessors look for evidence of thoughtful decisions under pressure.

When the director wants one more take

Directors often want one more take, and sometimes they are right. The DP's job is to make the cost visible without blocking the director's work. If time is short, tell the director and first AD what an extra take or an extra set-up will cost later in the day: "one more take here means we lose the insert in scene 7". This lets the director choose with full information. Where possible, offer a faster way to get what they want, such as a pickup of the last line rather than a full take, or a second angle shot at the same time. Never let pressure to get one more take lead to cutting safety steps, such as resetting a rig without a grip present.

• State the cost of extra takes in terms of shots that will be lost.
• Offer alternatives, such as a pickup of a line or a quick tighter size.
• Keep safety steps unchanged under time pressure.

Recording problems in the log

For each significant problem, write a short entry: what happened, when, who was involved, what options were considered, what was decided and what the result was. A typical entry might read: "Day 4, 11:20: rain arrived early. Options: wait, move to cover set, shoot under a canopy. Decision with director and first AD: move to cover set (scene 6). Result: scene 6 completed by 16:00; exterior rescheduled to day 5 morning." These entries are the evidence for the problem solving criterion in the rubric and the core of the reflection.

• Write entries as soon as possible after the event.
• Include the options considered, not just the final decision.
• Note the result, including whether the decision worked.

Assessors read these entries closely, so make them clear enough for someone who was not on set to follow.