ABSTRACT
On larger shoots there will always be a scout, which gives the crew time to come up with a plan for the lighting and camera movement. The budget and crew size figure prominently in the scope of work. A discussion with the production manager prior even to the scout is recommended so crew can be lined up and special equipment put on hold. Out-of-town DPs may come in with more swagger and ambitions than will be possible on some shoots. Framing and how many wide shots vs. close-ups play a role in designing the lighting. When scouting keep your notes identified by location rather than the date since dates can be changed. This is a handshake business so a positive attitude even in the face of adversity will bolster your professional reputation. Deal memos are an easy way to establish the parameters and lay out the desired working conditions for any particular job as well as specifying crew rates and hours. Buying lights for rental can be a good investment but has potential to limit your professional development. Working in lighting and grip in filmmaking will always involve much technical detail but also requires stepping back to look at the big picture. Freelancing is not for everyone, but can be rewarding if the insecurity of knowing where and when the next job is coming from does not bother you.
