HOW TO SHOOT IN A MOVING CAR
Scenes involving dialogue between characters inside a moving vehicle are difficult to shoot. Even MOS (non sync sound) shots inside a car presents serious challenges. If your scene must be shot in a moving vehicle you should know that LMU’s insurance does cover picture vehicles provided they are not moving.
If you rent a picture vehicle that needs to move in your shot then the insurance coverage is different (please see the Insurance section of this handbook). Personal vehicles are also allowed to be used however the insurance policy on the vehicle will respond in the event of a claim.
Another consideration is that shooting inside a car is cramped with little room for personnel and equipment. Therefore, the time it takes to complete a scene is much longer than a scene outside of the vehicle.
PRODUCTION ADMINISTRATION RESTRICTIONS FOR MOVING CAR SHOTS
- No actor will be allowed to drive a car with exterior camera mounts on an open public street without a police escort. Production Administration will consider each request on a case-by-case basis.
- Handheld shots may be permitted on an open public street, depending on the scene and the action. The camera operator must be secured with a safety belt and the camera must be secured by a safety line. Production Administration will consider each request on a case-by-case basis.
- Exterior camera mounts may be permitted on either private or controlled public streets, depending on the action. Production Administration will consider each request on a case-by-case basis.
- If you request exterior camera mounts, Production Administration will need to approve your key grip to ensure that he or she has the required level of experience to perform the job safely.
INTERIOR CAR SHOOTING THAT DOES NOT INVOLVE A MOVING VEHICLE:
“POORMAN’S” PROCESS
Simulates the look of moving when the car is actually standing still. Poor Man’s can be done for day shots, but normally it’s done for night scenes and the procedure is fairly standard. Poor Man’s can be done on a stage, in a garage or even a parking lot (with black hung around the car to block extraneous light).
Production elements can be added to help “sell” that the car is actually moving:
- “Drive by lights” – a couple of headlight units in the rear to simulate a car following, a high mounted street light rig on the side to “wipe over” the car to simulate street lights
- Some rain on the windshield is a huge plus, as is a little bit of smoke driven by a quiet fan (an E-fan if you have one).
- Have a crew member place a 2’ x 4’ under the car to give the car a little shaking motion.
PROS: inexpensive, good control of the elements, excellent sound
CONS: works best for night shots shooting towards the windshield, limited frame lines
COST: minimal
GREEN SCREEN
This process has been in use for many years and is a proven method of achieving good sound and images while shooting in the friendly confines of a sound stage. Fortunately for you, here at LMU we have a sound stage with a green screen cyc and you are allowed to bring a vehicle onto Stage 2 for this purpose. It does require skill in lighting the green screen and the car in front of it. The background “plates” need to be filmed separately and composited in at a later date using computer software. It is possible to purchase stock shots for this purpose, but the angles, depth of field and the exposure need to blend with your green screen shots.
PROS: good control, good sound
CONS: mixed results – can be time consuming to not only film, but to composite. Background plate shots need to be acquired.
COST: varies widely
PROJECTED BACKGROUND IMAGES USING LED MONITORS
This is an update from the old technology of rear screen projection. It also incorporates elements from both Poor Man’s and green screen. This process allows you to shoot in a controlled environment (stage, garage, etc.) and achieve very realistic effects. Using strategically place monitors behind your subjects and playing back images on the screen, you are able to capture the composited image in camera. It also gives the added benefit of light reflected from the monitor onto your subjects. Background plates need to be obtained and played back on set.
VER is one of the leading companies using this technology.
PROS: good control, good sound, in camera compositing, real time light reflections onto your subjects, good for both day and night scenes, relatively fast process
CONS: monitors need to be rented, background plates need to either be shot or purchased, additional rigging time depending on the number of monitors.
BRINGING VECHILES ON THE STAGE
All of the above options would require you to bring your vehicle on a sound stage. Here are the rules for that process:
- Stage 2 is the only stage that vehicles may be used.
- Only one vehicle is allowed. Prior approval is required from the Head of Production and the Studio Operations Administrator.
- No vehicle may be driven (engine running) into any portion the building. The vehicle must be pushed into building and the TV Stage and pushed out in the same way.
- Once the vehicle is completely on the stage and has passed over the sliding door track, it can be placed on Go-Jacks3 so it can be maneuvered for a preferred position. DO NOT attempt to push the vehicle over the sliding door tracks while it is on the Go-Jacks, it will get stuck.
- You may not start the engine to position the vehicle, you must use the Go-Jacks.
- All vehicles MUST have less than a ¼ tank of fuel.
- The vehicle’s battery MUST be disconnected once it has been placed. Remove the positive terminal connection from the battery and wrap it in a cloth so it is not touching the exposed
- terminal. If the vehicle is equipped with electric windows, raise or lower them for the shot before you disconnect the battery. You will not be able to use any of the electric features of the vehicle (wipers, windows, lights, radio etc.)
- If the wheels will not be in the shot, it is recommended that you leave the vehicle on the Go-Jacks.
- All of the above applies to motorcycles as well.
- Fully electric vehicles are exempt from the above policies but hybrids are not.
- See the Studio Operations Administrator for instruction on the safe use Go-Jacks.
OPTION FOR INTERIOR CAR SHOOTING THAT DOES INVOLVE A MOVING VEHICLE: TOW-SHOTS
Standard practice is to use an “insert car” (sometimes called “camera car”) specially engineered for the mounting of cameras and other equipment for the primary purpose of photographing a moving vehicle to tow a picture car or process trailer. The actor(s) sit in the picture car and are pulled along by the insert car. The actor “pretends” to drive while performing. Sometimes the picture car is mounted on a “process trailer” and this is towed.
Coordinating and running a tow shot is a complex and time-consuming activity. We do not recommend this process unless you have the funds and the time to shoot it safely. You will need to hire professional drivers, assistant director, grips as well as off-duty police
PROS: best control of performance, picture, lighting and sound.
CONS: complex and expensive – requires skill and knowledge to do well, very time consuming
COST: approximately $5000/day