“This was great, let’s go for coverage now!” How often do you hear or say this phrase on set? Have you ever found yourself in the editing room, not having enough footage to piece the scene together? Or, on the contrary, massively overshooting, knowing you’ll toss half the angles in post anyway? Of course, there is no single correct approach to coverage. It differs, depending on the scene, situation, and personal preferences. So, when is the extra shot worth it? What can it enhance or, conversely, destroy? Let’s take a look at various filmmakers of our time and how they handle this topic, and try to find the answers together. Renowned German film director Werner Herzog once famously said that he sees the finished film play out in his mind. In his words, other directors sometimes don’t know what they’re doing, and so they push their decisions into post-production. And that’s okay. But not for Werner Herzog, because “there are many essentials – the rhythm of a film, the quality of acting, the focus on the wrong character – that you can’t fix in postproduction. You’d better take charge on the set and do it right there.” Sounds harsh, doesn’t it? Yet there is truth to his words. At the same time, some directors would disagree and choose a different approach to coverage. Filmmaking is art, after all, and art is always subjective. What ways are there to choose from? Universal principles of coverage Let’s start with some universal principles...
Published By: CineD - Friday, 11 July