The Right Place at the Right Time

Consider this: a scene in your short film takes place in a coffee shop. You know you could never pass off your living room as the local java joint, so you decide to shoot that scene on location. It's time to hit the road and find the right spot. There are several elements to keep in mind:

Power outlets are essential for lights, batteries or other equipment. For such important elements, these power sources are easily overlooked. As you scout the location, ask yourself:

• Are there enough outlets that work?
• Are outlets close enough to where you'll set up lights and camera? If not, how many extension cords will you need?
• Are the outlets grounded?
• Can the location handle the wattage of all of your equipment without tripping a breaker?

If you plan to use a generator, make sure you can place it far enough away that it won't cause audio issues or create a safety hazard. For an event video, plugging into an outlet may not be an option, When scouting, look for out-of-the-way outlets for recharging a spare battery.

Okay, so you find a coffee bar that has the exact look and feel you want. As you gaze around, you notice several large windows. Break out your tape measure, because you'll probably need to give these windows some attention.

Combining outdoor sunlight with indoor, tungsten lights can create a look that's either too blue or too orange when viewed through a video camera, particularly when human skin tones are involved.

The reason is that each light source has a unique color temperature that the camera readily picks up. It looks okay to the human eye, because our brain compensates for the color differences, but the camera simply cannot. The result is that the outdoor light looks blue and the indoor light looks orange through the viewfinder. White balancing won't always solve the problem.

The solution is to choose which lighting temperature you'd like as your primary light source, then eliminate or add filters to the other source, so all light in the room has the same color temperature.

Fluorescent lights cast a greenish hue, so most videographers turn fluorescents off altogether or swap the fluorescent bulbs with specialty bulbs that give off the desired color temperature.

As you consider your lighting situation, some questions to ask are:

• Are you using the windows as a light source?
• What are the dimensions of the windows, in case filters (gels) or other light-blocking materials are needed?
• Where are the controls to turn off the overhead lights?
• If you're swapping out fluorescent bulbs, what sizes are the replacements?

Few locations are completely devoid of noise. Scouting your location in advance allows you to hear how quiet the room really is.

Stop walking, close your eyes and listen. It turns out the room is noisier than you thought. Rumbling softly overhead is a huge AC vent. An espresso machine sputters behind the counter. A telephone rings in the next room. Traffic noise leaks in from the street.

Catching these sounds now allows you to make adjustments. Ask yourself:

• Can you turn off, unplug or cover up any unwanted sources of noise?
• Where is the quietest spot, and is that a good place to shoot the scene?

Bring a mic and headphones to hear how the room sounds to the camera. Check wireless mics for electrical interference or static from nearby equipment or radio towers. Can't get a clean signal? Consider a wired lavaliere or shotgun mic.