Advice on Putting crew together.

Elmy

Elmy

Well-known member
I'm DPing an upcoming short for a film festival, and like always I'm in charge of getting the crew together. My director (and good friend), has been forwarding me resumes the past week. My issue is I really have no idea what spots I need. It's not a huge shoot and there is actually zero budget (we own most the equipment already and rentals are being provided free). I've always had a very hands on approach mainly because I feel that doing what I've planned and see in my head is faster then telling people to do it.

However I did learn from our last short that doing it all myself gets a bit stressful. So what positions do you suggest I lighten up on and get a crew for? This isn't just crew for camera department and lighting, it will be the whole shoot. Is it normal to feel like I don't need anyone past grip? And I don't mean that in like an "I'm amazing and don't need anyone" type feel....lol
 
We recently hired a great AD who is extremely passionate about being part of our process. We're filming a lot of action scenes with automatic weopons, blanks and multiple players. With all the shots that we need to knock out on shooting dates, plus a two cam setup(both operated), he has been a godsend. Just to have somebody who can get everyone moving into position for the next shot, cut slates, yell out time restrictions, no BS, y'know, we want to have fun but we need to get sh*t done. I find with everything we want to perfect ourselves in lighting, blocking, and photography, it's easy to lose track of time and the actual progress being made. Not to mention he gets everyone on the same page with order of operations, a person whom people can ask questions to. We're busy with what we do, and how often are you trying to concentrate on the artistic side and someone comes to you first with their concerns or confusion. A good AD rocks.
 
True I totally forgot about AD, I guess trust is my issue. How do you go about figuring out who would be a great AD? All the resumes I've gotten are from generalized people, no one really specific except one was a DP, which isn't needed =p.
 
I did a short a while ago and these were the crew members we had on set. We did have a 1 ton grip truck, so there was a bit of stuff to move around, but if I were shooting anything that I had some effort behind, this is the least of what I'd want.

Production Manager
Assistant Director
3 Production Assistants

Camera Operator
1st Camera Assistant
2nd Camera Assistant

Key Grip
Best Boy/Jib Op.

Gaffer
Best Boy Electric

Production Designer
Art Assist
Art Assist

Wardrobe Head
Key Makeup Artist

Still Photographer
Script Supervisor
Craft Services
Craft Services
BTS

The most important part of this list is the 3 production assistants. Never skimp on that, because if you do, you'll end up pulling from other departments to get things done...and do you really want to pull a 2nd AC away from doing his job to go and pick up a little bolt that you forgot? This all depends on the size of the shoot...but, just so you can get an idea of things...

As far as who would be a great AD...you just need someone who thinks 5 steps ahead and knows about other departments and what they need. I've been having an impossible time finding a good AD though, just because...well, it's hard to tell what they're like until they get on set. Maybe someone else has some better answers on that one.
 
I don't understand why it is your job as the cinematographer to hire the rest of the crew. Generally, the producer and/or director chooses the big two people: cinematographer and production designer. Then with the approval of the producer and/or director, the cinematographer and production designer have some say in the choice of the people who work in their departments. For instance, the cinematographer might work extremely well with a particular key grip, gaffer, or 1st AC and recommend that person for the position. Similarly, a production designer might work well with a set decorator and recommend that person to the director or the producer.

At any rate, you should only be expected to recommend/hire people that you're qualified to speculate upon. It's like, why should a cinematographer be trusted to hire an assistant director?
 
Thanks that helped a lot actually, don't need a lot of those positions but still helped
 
I wasn't hired as the cinematographer. I guess I'll explain it a little better. Its three of us in this company we own. I specialize in the camera/lighting department, usually I'm DPing. We're all trying to put this crew together however when it comes to the technical side of the production I'm the most experienced and so most trusted to put the crew together. This isn't a large enough shoot to justify having a separate producer, PD, ect. We all kinda work on different portions. The only part that it separates on is between Cinematography, Directing, and Editing. It's not like as if some director hired me as a DP and then told me to find the rest of the crew.

"For instance, the cinematographer might work extremely well with a particular key grip, gaffer, or 1st AC and recommend that person for the position."

To be honest how is this different then what I'm doing? I'm not crewing the whole entire production by myself, only the parts that pertain to what I'm dealing with.


Im sorry if it was assumed that I'm at the level where I can limit what I do just with cinematography to get the films I want made. We're Indie, we do still have to do the majority of the jobs ourselves....
 
Elmy said:
"For instance, the cinematographer might work extremely well with a particular key grip, gaffer, or 1st AC and recommend that person for the position."

To be honest how is this different then what I'm doing? I'm not crewing the whole entire production by myself, only the parts that pertain to what I'm dealing with.
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I guess in a sense it's not that different from what you're doing. But if it was me, I'd tell whoever takes a directing/producing role that I'm not qualified to hire a good assistant director, or production designer. Those positions head up two completely different departments that are separate from grip, electric, or camera, even though obviously there is a high amount of collaboration between a cinematographer and a production designer.
 
As far as a great AD would go, I'd say pick someone with plenty of on set experience, not necessarily a shooter, I find some aspiring actors can make great AD's. Some screenplay writers can be good too because they should have a good perception of the "big picture" on set, as opposed to one piece of the puzzle. Also, someone who won't step on your toes creatively, I love people who are passionate about filmmaking but I don't want the vision of the piece to be distracted by extra cooks in the kitchen(so-to speak). A No-BS mentality is a must, focused, organized, knowledge of everyone's roles on set(so to light fires under their a$$es when need be), ability to read rundowns, knowledge of simple film terminology, and most importantly someone you can connect with well on a professional level(they have to have your back, when others might not have a clue{greens or most newby producers}). Anyways, good luck,man
 
I've had a theory for a while that the best AD's are ones who have worked in G/E for quite a while. I can't think of many other departments that have to look so far ahead in the schedule and be so prepared for things going on much later. This is just because there is literally way too much for them to do in a day, and they know why things take so long.

Just thinking in that mentality they can force that on other departments to make sure that they've done everything they can to prepare for the scenes ahead.

As long as they know how to communicate well to all the other departments, they've already got the main ingredient, just thinking ahead.
 
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