Location Scouting: The Tricks of the Trade

Geoff Best
September 1999

Whenever you're shooting outside the confined walls of a video studio, you're shooting on location. And whenever you're shooting on location, you must deal with site-specific circumstances - - circumstances of lighting, power, noise, people, furniture, pets or anything else that might help or hinder your video efforts.

That's where location scouting comes in. Location scouting is the process of visiting a site before you shoot, and taking stock of all the conditions that might affect your shooting in order to prepare for potential problems or exploit the potential benefits of the site. It also involves the selection of locations when there's a choice to be made between several sites.

Location scouting doesn't have to be an elaborate process. It can be as simple as looking around, listening and jotting a few notes on paper. For both the weekend video hobbyist and the would-be professional videographer, this article will give hints and advice on the location scouting process. By the time you're done reading it, you should have a clear idea of how to improve your own videos with these time-honored techniques.

For video producers, there are two distinct types of locations, and the way we investigate them is necessarily different. The first type, the one we encounter most often, is the predetermined or fixed location: weddings, graduations, musical events and sports, for example. These events are held at places that have been picked by other people. Our job is to figure the best way to deal with existing conditions. We may be hampered by poor lighting, or helped by a great sound engineer. We may find ourselves backed into a corner behind the potted palm, or discover someone has removed a whole section of chairs for our convenience. But knowing what to expect is where location planning pays off.

The second type of location is the one we choose ourselves to create a certain aesthetic look, or to meet some dramatic requirement. For this type of location shooting, there will often be a story to be told--possibly a drama or a documentary. Our job in this case will be to find places that will work to convey the mood and look we require.

Let's first consider the fixed location: assume we know a couple that would like to have their wedding videotaped. They ask their wedding coordinator, Elaine, to call Jim, a local freelance videographer, about doing the job. Although we'll be using a professional video producer for our example, the procedures outlined below are equally valid for an amateur--a friend who wants to videotape an event, for example.

Jim and Elaine talk and he assures her that he is capable of such an undertaking. Since Elaine is in charge of many of the festivities, she becomes his contact person. It is important to find a contact person right away. Your conversations will be more informative when you talk to the same person each time. Jim first asks for a schedule, along with the location, date and time of day.

While looking over the schedule, Jim notes that a rehearsal and fully-programmed dinner party are planned. He realizes that being on hand for these events will add greatly to the finished tape. He marks these dates and times on his calendar also. The schedule tells Jim the wedding will occur on a Saturday at 4:30 pm and will be held outdoors at a country club. He wonders how the low afternoon sun will affect the camera, and knows that he must not be positioned facing the sun. He decides to go to the location on a Saturday at 4:30pm. That way, he can see conditions similar to the ones at the actual event.

This type of planning is the key to a relaxed and pleasant shooting experience. From this initial inspection, Jim will make two checklists. One will be a location list and the other will cover the equipment. By now, Jim has a good idea of what to expect. He has found out where the bridal party will stand and where the processional will begin. Elaine tells him that in case of rain, the ceremony will be moved into the club's multi-purpose room, and Jim makes a mental note to give that location a thorough inspection.

Jim packs his camcorder, a notebook, a compass, earphones, his wireless microphone and other items he feels he may need, then heads out on his investigation. His first priority is to locate electrical outlets, and determine whether they will be useful to him at his shooting location.

Jim finds that the nearest electrical outlet will be near the sound mixer--only about 75 feet away. An extension cord will reach easily. He decides that he will need to tape the cord to the outlet box to keep it from coming unplugged part way through the event. He jots down duct tape and an extension cord in his notebook.

Jim looks back across the lawn and realizes his car is a long way off. Bringing a wagon or handcart might be a good move. He powers up his camcorder, plugs in his earphones and listens for noises that the ears normally block out. The camera's microphone picks up a constant rumble of traffic noise that Jim hadn't even noticed. He decides it's a good time to see how the wireless mike works. He sets the transmitter some distance away and listens through the camera as he walks around his shooting area. Wireless mikes usually work well outdoors but it's always smart to check for interference or dead spots.

Jim's investigation is almost complete. He stands near his shooting spot and takes out his notebook. He makes a sketch of the site noting the position of the sun, electrical access, location of the sound board and his own shooting spot. He then makes a note to get in touch with the sound man. If he can get an audio feed off the board, he might get better sound than he could with his own setup.

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