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LOCATION, LOCATION, LOCATION!

This Tricks editorial discusses the roles and importance of a Location Scout and a Location Manager as part of the production team. Presented by:
Jim Baldwin of Baldwin Productions, home offices in Marin County. 415-925-9262 or jim@baldwinproductions.com

Where am I going to get the look that I need (read: sophisticated business environment) for the money that I've got (read: very little)? How can I be sure that the suspension bridge I want is available to be shot, and how can I get my permits? Where can I shoot a classic western swinging door saloon and a chic New York loft in the same day? Who can I call for help?

Enter the Location Scout. Describe to the scout what you are trying to say in your spot/film/photograph, and the Scout will tell you where you can shoot it with the least headache, the most savings, and the greatest impact. The location scout is one of the first researchers one calls once the concept is backed by a budget. Having a scout at the start of a shoot is the producer's first line of defense against unwanted surprises. By having a location scout as a part of the team, the rest of the production team will know what to expect from the location before arriving there. I have been a location scout since 1989, and I have worked on hundreds of commercials, films, and photographs. I am paid by the day to research, scout and manage locations for shoots, or by the search to access my files.

The location scout interprets the concept and matches real property to the project. I start by reviewing the boards and discussing with the creative team how closely these layouts are to be matched. I consider:
§ The logistics of each shot, such as how a physical space must be laid out to accommodate the action
§ The camera
§ The crew
§ Restrictions at locations that might interfere with acquiring permits
§ Budgets
Then I set out to scout possible candidates from which the production team can choose their location. I photograph the location, making notes on conditions that might affect the production such as:
§ Tide lines
§ Weather conditions
§ Traffic patterns
§ Local sources of noise that could affect sound recording
§ The sun, and anything else that could affect the shoot.
I gather all the information from the field and present it to the production team as an easily understood brief of not only what the location looks like in pictures, but also how it can work for the shoot. On some projects, the Scout's job ends here. On some projects, this is only the beginning.

LOCATION MANAGEMENT
Many projects keep the scout on to prepare the location for the arrival of the shooting crew and to see the project through its final wrap on site. This prep and site work, known as location management, may include:
§ Making contractual agreements with properties affected by the shoot
§ Negotiating with local government, civic groups, and neighbors
§ Coordinating local police and fire teams to support the project by aiding in public safety services such as traffic control during street scenes.
§ Finding support space in which the catering company can feed the crew
§ Wardrobe/holding areas for the extras
§ Parking arrangements not only for the trucks and crew but also for displaced neighbors
§ Keeping all these groups informed and involved.

Although the location scout may only work on finding the location before turning the project over to a location manager, considering all of these aspects of the production during the initial scout can make for a far easier and more cost effective shoot. A good scout will consider all of these points when reviewing the specs of a job as they all directly relate to the producer's bottom line as well as to the look of the project.

FILE SEARCHES

Not all productions have the ability to send a person out into the field dedicated solely to scouting locations, and not all location scouts make a living the same way. Some scouts have created libraries of locations which are available to production teams for their research. These libraries are as varied as the Scouts who have created them, each with it's own shooting style and client background. Some scouts are associated with certain types of projects such as features or still photography or automotive advertising, others with certain types of locations such as private homes or extreme sports venues. I have been involved in television commercial and advertising photography throughout my career after a few years in features and television movies, and I have built a massive location library in northern California which I make available to production teams for a flat fee. I have found this the least expensive way for a client to scout my files, as there is no markup on location costs, nor any additional fees for this service. I provide images either on a custom-made web page or from my hard copy files, the client selects which locations from the files to contact, and the client deals with the location directly. I make the introduction usually by phone, and unless the client wishes further management on my part, I move on to the next project. Unlike some other business models, mine involves no "back-end", no fees-per-day-booked, and no mark-up on the cost of the location to the producer. It is inexpensive, the bottom line is predictable, and you pay for only what you need for your particular shoot. If you need more help, you can buy it, and if you don't, you invest the time and save the money.

When you're ready to bring your job out of the studio and into the world, call the people who do it all the time. Find what you need quickly and safeguard your investment, your crew, and your shoot with an experienced scout and the proper permits.

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