Posts Tagged film crew

Filmmaking: Finding a Director of Photography

Posted by Andrew Michael Brown in filmmaking on May 21st, 2009

Finding a Director of Photography (shortened to D.P. or D.O.P.) or Cinematographer can be complicated. Do you go for someone you know who may be able to do the job or do you look further afield? In the beginning when you are starting out, it’s probably easier to use the contacts you have but as your projects become more sophisticated, you may have to employ a seasoned professional.

DP’s generally fall into three categories:

  • those who light to make it look good.
  • those who light to make it look good and tell the story.
  • those who say they can but actually couldn’t light their own granny, (Luckily, few and far between but they do exist!)

All things being equal, you want the guy or gal in the middle. These are the people who will use their understanding of cinematography to express all the elements of your story and it’s characters. They may be more or less than wholly successful but their intention is the right one.

How then do you go about deciding who is the right person to work with? Here are some tips:

  1. Obviously, view the show reels of prospective D.P.’s/ this will give you an good idea of their work.
  2. Send a script before meeting. People are busy but D.P.’s, if interested, should be able and will want to read a script pretty quick
  3. Meet informally to discuss the film, choice of styles and creative issues.
  4. Be prepared to answer questions about characters, motivation etc .A good D.P. will have suggestions and won’t just be a ‘yes man’. This is a creative role and they will most likely be ‘thinkers’ and leaders. They will often challenge the way you think a about certain things.
  5. Be aware if someone just agrees with your every idea, this could denote a lack of ideas or confidence or leadership ability.
  6. Based on your answers a good D.P. may choose not to work with you! They have a reputation to protect/build and wont work with just anyone. (if you do have a poor script/personality you better have a lot of money!).
  7. References: Contact other producers and directors who have worked with the same person and get their view.
  8. Make sure you can get on personally. You will be working very closely together over a number of weeks of the shoot both before and after in pre-and post production so be certain you can work through any disagreements or differences of opinions amicably and maturely.

Finding a D.P. to work with is something all aspiring and established film makers have to deal with at some time. Ideally you will find someone you can work with again and again on different projects and thereby create a successful relationship of mutual respect and admiration.

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Film and video production: Going for a take.

Posted by Andrew Michael Brown in directing, filmmaking, movie making, shooting on May 21st, 2009

This is a general guide to the protocol for starting to shoot. Most terminology originated with celluloid shooting procedures and may eventually change due to new media technologies. Solid state recorders such as the Red Camera do not roll for instance.

Usually the AD, the Assistant Director, will take charge of getting everybody ready for the shot. Any final make-up touches and powder will be applied to bright, shiny faces and last minute hair adjustments will be made. Continuity will be checked. Props will have been set in place and lights will be tweaked. On set, mobile phones should always be switched off whilst filming.

Unless you are on a sound stage, the sound recordist will wait for the numerous planes to pass by overhead and cars to disappear before giving the all clear.

Going for a shot will go something like this:

The Assistant Director will ask:

  • AD: “Everybody ready?”
  • EVERYBODY: Yes / yo / you bet / Do it, do it! / yeah / fuck yeah!/kiss my ass.

Everyone is ready to go.

  • DIRECTOR/AD: “Roll sound” or “run sound.”

The sound recordist (opens eyes/puts down newspaper or porn mag) switches on his gizmos and announces:

  • SOUND RECORDIST: “Rolling/running!”

The AD or Director will then say:

  • DIRECTOR/AD: “Roll camera” or “run camera” or “turnover.”

The camera operator or his/her assistant will start the camera. (This depends upon the crew size,budget and whether shooting film or digital).

  • 1st CAMERA ASSISTANT: “Rolling” or “Running” or “Speed*”

The 1st or 2nd camera assistant will then hold the ‘board’ or ‘clapper board’ at a distance where it will appear in a central position in the camera frame. You can determine this by either looking at the size of the shot in the monitor or the viewfinder or through experience, by judging the distance based on the lens focal length. The Operator will then say:

  • CAMERA OPERATOR: “Mark it!“

On ‘mark it’, will declare:

  • 1ST/2ND/CLAPPER LOADER/CAMERA ASSISTANT: “slate 1, take 1.”

The camera assistant may also sometimes announce the name of the production before snapping shut the board.

  • DIRECTOR: “Action.”

The Action takes place.

  • DIRECTOR: “cut!”

The director will check with both camera and sound departments for their feedback on whether there were any problems/issues with the shot. If shooting on film, the camera gate will be checked straight away for dust and small particles which could have scratched the film’s surface.

The Director will confer with the actors on their feelings about the performance and give them his/her comments. It’s rare to have a one take wonder so there will generally be another couple of takes to improve any or all of the elements involved.

* The term ‘speed’ comes from the camera operator announcing when a film camera had been started and run up to the desired amount of ‘frames per second’, its proper speed.

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