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Mentor
From the agency side, even if you call it a documentary style production, you can’t just run around and shoot people willy nilly. Sign them to contracts, whether principal or extra, get releases signed and get head and body pics with what they wore. I had a director who didn’t listen and thought he could just shoot and run. Doesn’t work that way. My agency at the time was a SAG signatory. We could have been in a lot of trouble had I not kept track of everyone. You will also need releases from any businesses you photograph.
Going cheap with production sound. What you save on a bargain basement sound recordist, you’re going to more than spend on post audio repairs that won’t sound as good as if you’d gotten good tracks to begin with. We have really great noise reduction tools these days, but they can still only do so much before they start to degrade the sounds you want to keep.
Only location scouting with your eyes. Similar to the above. The shot may look great, but if there’s jets taking off or loud traffic, it’s going to be tough to use any of it in the cut. In that same vein, listen to your sound person. If they ask you to have an interviewee repeat something, for example, it’s probably for a good reason.
Mentor
Duh!