PRODUCTION
Okay, now it’s time to roll camera. But wait! There are still some legal issues you will have to take care of first. Ideally, many of these issues will be addressed during pre-production rather than waiting for the first day of principal photography.
This section will help you:
• Identify when you need a release from an extra. (See Depiction Releases, p. 171.)
• Recognize trespass and other potential property claims. (See Why You Need a Location Release, p. 177.)
• Negotiate a location agreement. (See Deal Points: Location Agreement, p. 181.)
• Know when you need a shooting permit. (See Shooting Permits, p. 179.)
• Keep your art direction from infringing somebody’s copyrights. (See On-Set IP Infringement, p. 185.)
• Understand the fair use of copyrights. (See Fair Use of a Copyright, p. 187; Appendix A: Fair Use, p. 256.)
• Negotiate an artwork license. (See Artwork License, p. 190.)
• Learn about problems relating to shooting trademarks (See Trademarks on the Set, p. 192.)
• Negotiate a trademark license. (See Trademarks Clearance Letter, p. 194.)
STAGES OF PHOTOGRAPHY
Principal photography is what most people think of when they think of a film shoot. It is the time when the cameras roll, capturing all of the filmed dialogue sequences. It is the heart of the shoot itself.
Second-unit photography, by contrast, consists of that photography done by a second camera crew, which films scenes that do not include the main performers. Examples of second unit photography include establishing shots, backgrounds, crowd scenes, and footage for computer animation.
Pick-up shots are shots or scenes shot after the completion of principal photography. The need for a pick-up shot is established when a scene couldn’t be shot during principal photography, for instance, due to bad weather, or as is often the case, when the director is in the editing room, cursing at himself for not having the one shot he needs to make the sequence or movie perfect…