WHAT IS A LOCATION?
The slug line in the script, or heading of each scripted scene which should include Int./Ext. Set or Location and Day/Night, describes a “set”. Sets are either on stage, back lot or on location.
There are local locations (those places within commuting distance) and distant locations (those places that abbreviate your production day and may require overnight lodging). See 30 Mile Radius for more information on how distant locations affect your production.
LOCATION, SOUNDSTAGE or BACKLOT
The selection of a good location is essential to a successful project, not only in the way it affects the aesthetics of the picture, but also in the way it impacts the logistics of the production. An inappropriate location choice can result in wasted money, time, and energy.
SCOUTING
The usual process is to begin with secondary sources – location files, guidebooks, Air BNB, and other services. Some resources include Giggster, All Pictures Media, Peerspace, or FILM LA, which maintains a website with a large number of locations. Another resource is Avvay, a nation wide Location Scouting company that specifically works with film productions. Students complete a form about their location needs and receive a free file pull. Avvay checks availability, negotiates pricing, and helps you to book the best option for your project. Avvay’s minimum location fee is $1,000.
If secondary sources prove unsuccessful it becomes necessary to get in a car and check out primary sources. All potential locations should be documented – do not trust your memory. Take photographs – panoramas are best. Write down the address, contact name and phone number, and any other relevant data. Create a folder and make one for each location scouted.
SECURING THE LOCATION
Ideally, the location will be free – if not, a deal will have to be negotiated with the property owner. Even if you are lucky enough to get the location for free, offer some sort of compensation or gift to show your appreciation.
TECHNICAL SCOUT (aka Tech Scout)
Once you have selected and secured your location, take your department heads (DP, Production Designer, AD, Gaffer, Key Grip, etc.) to Tech Scout. This is extremely valuable as this is your opportunity to explain your shots and shooting plan. It’s the crew’s chance to ask questions and make notes. Tech scouts can be long and tedious, but they are absolutely necessary. The more information you can distribute, the better prepared your crew will be during shooting.
Try to scout the location on the day of the week and time of day you will be filming there. Conditions vary from weekdays to weekends and from day and night. It’s a good idea to document the scout with a digital still camera and to make a map of the location showing access, parking, and so on. Please review the Tech Scout section of this handbook.
LOCATION GOLDEN RULE
Good locations amenable to student filmmaking are difficult enough to find. For the sake of your fellow students – and those who come after you – be sure to make this experience as easy and pleasant for the location owner as possible. Keep your promises and follow the owner’s instructions. Most importantly, leave the location in better condition than you found it. Don’t “burn” (figuratively and literally) a location.
Filming on location means utilizing property that is someone else’s (house, store, etc.) or a public street, sidewalk, park or other facility. Production company personnel are guests in such places, and are obligated to conduct themselves as such, and treat the public and the location with courtesy.
When filming in a neighborhood or business district, proper notification is to be provided each merchant or resident who is directly affected by production activities (includes parking, base camps and meal areas). The Filmmaker’s Code of Professional Responsibility should be attached to the filming notification which is distributed to the neighborhood.
Production companies arriving on location in or near a residential neighborhood should enter the area no earlier than the time stipulated on the permit and park one by one, turning engines off as soon as possible. Cast and crew should observe designated parking areas.