pre flight check

Pre Flight Checks and Protocols
3/10/2023 - Media Craft Skills - Jon

What to do when the phone rings:

Location – when and where? Understand the basics before you agree to do something and making sure you’re the right camera person with the right equipment. Although if a producer wants you to be a part of the team, you can get anything arranged for the right fee.

What kit will be needed? Do I need to hire kit? If so what kit? Do I need to familiarize myself with the kit? Or can I charge more for using my own kit? – Can I add more like drone experience?

How much will it cost? Use BECTU website to find the appropriate rates. Is a hotel included? Is travel included? Is food included?

Get the right contact information. Sometimes the person on the other end of the phone won’t be completely involved with the shoot. Make sure to get the directors or producer contact details to stay informed for example if the shoot is still going ahead or if any plans change.

Get a settings list and a call sheet. Asking for a list means you won’t have any surprises and will be ready for whatever will occur. For example, you don’t want to get the job and realise your kit won’t be able to film because your equipment doesn’t have the right settings.

Get examples of previous shoots. Having previous shots means you will be able to understand what the producer or director is after and what material you will be expected to film.  

What to do the night before:

Prepare the equipment. Make sure that the batteries are charged. Format cards are ready (no footage from a previous shoot still on there). Settings for the camera are correct or at least close enough to quickly change once you are there. Have the correct lenses.

Plan your journey. Be ready for anything and give yourself plenty of time. For example, if there’s traffic.

Allow down time. Arrive at least 30 minutes to 1 hour, giving time to be fully prepared in case something happens.

Camera:

System frequency. When filming in the UK you want to set it at 50hz because the UK electricity system runs at 50hz. Unless you have been told to shoot in a specific frequency that isn’t synced to the electricity, you are able to fix the problem with shutter speed instead.

Video format. Shoot in the format that they director has requested.

White balance. Check that you are at the same white balance as all the other cameras. Daylight – 5600k, Tungsten – 3200k, Window + Lights – 4200k.

Microphone input. To check the sound is recording do a scratch test to check the external microphone, rather than using the cameras internal microphone. Do the same for radio microphone as well.

Shutter/gain/aperture. Check your shutter is twice your framerate, your aperture is opened to give the right depth of field and adjust the lighting by adding lights or using the gain.

Record test. Is the lighting good? Does the sound work? Are there any settings needed to change?

Check the structure. Check there is nothing in the corner of the frames hidden by the viewfinder.

Check the focus. Is there enough depth of field for the shot to be in focus? Is the subject sharp?

Record test. Record the shot again just to make sure.

On set:

Don’t faff. The planning the night before should mean you’re all ready to go.

Think of ideas. Being able to think of shot/story ideas means you have a chance to share with directors or other high-ups what can make a good film. especially when they don’t know if its possible or they don’t know how to describe it. You can do this by your previous experience and knowledge.

Record the card handover. Be ready, if something goes wrong, you aren’t to be blamed. For example, take pictures, hand over the card with a label with your name and date on it.

Log your miles and expenses. The mileage should be 45p per mile. Do you need food? A place to stay? Make sure you aren’t out of pocket for their shoot.

Invoice. Getting an invoice quickly means that you’re serious about getting paid.