can we call cut?

sSarry Mattykins i misunderstood you, I thought you were stating that firing a DP would also mean firing the camera and lighting crew, and that would get the Director fired.

but actually I've had equipment get dropped on my sets before it happens, never on the scale you're refering to, but accidents happen that's what production insurance is for.

unless it was dropped do to stupidity, or anger, i problably would not fire a dp for that.
 
Jason,

I think you are forgetting about the AD and UPM here as well. The director wouldn't be calling shots to the crew. If he was I would be questioning why I am on set. The entire crew answers to the AD, not the director. Yes - the director makes calls on set. But why would the director tell a gaffer where to place a light. That wouldn't be conducive to a successful and on schedule show.

The director needs to focus on the performance. The UPM deals with crew hiring. While the Director and Producer have final call on who is chosen above-the-line, the UPM hires everyone else. The AD is the liaison between the crew and the director.
 
Mattykins said:
Well, the camera droppage was a joke. I can assure you that you will not be on crew if you drop a camera package. You will be fired faster than you can say 'oops'.
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It all depends. People make mistakes. I was reading an ASC spotlight article from January, 2008. The featured member was Glen McPherson, ASC (Glen McPherson). In the interview he was asked if he had made any memorable blunders.

He responded, "As an assistant, I prepped the gear for a commercial involving a windsurfer. The rental manager handed me a brand-new Arri 35-3 and said, ‘Don’t get any water on it!’ I think that camera is still at the bottom of the lake."

See the article here

Trust me, f-ing up the camera is a sure way of getting fired. But don't be afraid of being blacklisted. Those are for people who punch the director or throw tantrums on set. Personality flaws, not unfortunate accidents.

Jason Miller said:
I've had equipment get dropped on my sets before it happens, never on the scale you're refering to, but accidents happen that's what production insurance is for.

unless it was dropped do to stupidity, or anger, i problably would not fire a dp for that.
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Exactly! :)
 
Matty a lot of smaller films, don't have ADs, and a lot of directors are very hands on, especially those who came up from the crew ranks, and those who often still work as DP on other shoots. I've seen sets with wll over 30 crew members, and I've seen sets with only 2 or 3 crew members. the indi world is much different than the studio world.
 
Ryan I agree with you on that one, accidents happen.

when I Direct or DP, anytime the camera has to be in a less than saff place to get the shot, I alwys handle the camera. if it drops it wil be my responsibility, no one elses.
 
Every set I've been on, Indie or not has had an AD. But each production is different. I would never work on anything without an AD. That just spells over-schedule.

I know two people who were blacklisted for three years for dropping a camera package and one who returned the camera package using the wrong shipping which took exponentially longer to get back to the rental house costing the production a good amount of money. Not DoPs, but additionally crew. So I am speaking from experience here - not just rambling.
 
Jason, Ryan is saying that the director really doesnt have time to be making sure the AC is measuring focus and that the grip has sandbags under the C stand. To keep it simple the director tells the DP that he wants a long shot with a bright light source comeing down on the talents face from above. The DP would then tell the camera crew to compose for a long shot and then the camera operator would have the AC measure focus and use the light meter while the DP is telling the grip to rig up a 2K fernel on an 8 foot stand and ahve it point down. Then the DP and the director would go over and check the monitor and the director would make corrections to the frame and maybe the light but the corrections would still filter through the DP. This is my understanding atleast...
 
I'd be pretty upset if I came in to DP a project and the director/producer gave me no say in who would be AC/Gaffer/Dolly Grip. The efficiencies of working with a crew that knows your shooting style are worth a lot.

You would think that I would call cut more often on low-budget film than on video, but I find that when you're aiming for a 3:1 shooting ratio, you're very sure you got the shot in rehearsal first. I 've only called "cut" as a DP on film once, and that was when the director literally left in the middle of the take. Lots of times on a video shoot, it goes from "slate everything" to "run-and-gun" as the director starts to fight for time, and that's when things get messed up.


The last few times I've cut a shot were:
The makeup person came over a hill in the background of a period movie. The director only had a SD monitor, so I wasn't sure he noticed.
My boom op and cable puller got tangled on a handheld shot and I ran out of cable, jerking the camera to the ceiling.
I racked focus backwards (the price I pay for getting used to still camera lenses) and it may not have been noticeable on the director's SD monitor.
 
Lairlair, i understand and I agree, but that doessnt make it he DPs crew, and yes you have to trust your DP. but Killing a shot by doing something that makes it absolutly unusable because you don't like something is always out of line. you say "this happened I didn't like it, can we shoot it again" a good director will normally say yes. if he doesn't say yes, then either he's jsut a bad director, or is in a time crunch and finds what you don't like acceptable, its his call not yours.


and yes when a director micro manages his crew things go down hill fast.



ProfessorU Yes having a crew you know and who knows you is worth a lot, but that crew doesn't work for the DP, they work under the DP, thats a huge difference.

as far as calling cut, I give the sound guy, the dp and camera op all the right to cll cut for certain reasons,

I agree with three of your cuts,

the Director shouldnot have left, if he needed his attention else where, he should have called cut before leaving, he didn't so you were write to do it

makeup lady int the shot lol, right on

cable twist, yep its a safety issue

but the rack, I don't think you should have, unless the director had asked you to cut on problems, othewise finish he take, inform the Director of the problem, and let him deside.

thats all im saying when its up the the Director, let the Director deside.
 
Jason Miller said:
ProfessorU Yes having a crew you know and who knows you is worth a lot, but that crew doesn't work for the DP, they work under the DP, thats a huge difference.
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What is the difference? I say they work for the DP because they are usually hired and fired (by the decision of) the DP. What do you think the difference is between working under and working for?
 
no they are almost never hired and fired by the DP, NEVER, they are brought on by the director or producer, often the opinion of the dp will be asked, but the dp never hires for someone elses film.
 
Jason Miller said:
no they are almost never hired and fired by the DP, NEVER, they are brought on by the director or producer, often the opinion of the dp will be asked, but the dp never hires for someone elses film.
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The Dp's camera assistants and gaffer, I believe are brought on by the DP. In low budget situations I've been responsible to recruit my team, and on big budget situations I've read that Dp's bring along their gaffer and assistant camera peoples.

I know for a fact, Dp's who have fired incompetent crew members. Maybe it was a producer or AD who broke the news, but none the less...


PS: Stated in the 9th Edition of the American Cinematographers Manual, under the secton "Responsibilities of the Cinematographer" (pg.2) Under roman numeral I, "Preproduction", subsection D, "Quality Control":

- Choose and approve crew, film stock, lab, equipment, second unit, and visual effects crew.
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It is my impression the DP picks the crew, and the director can object, if necessary. This is why many Dp's always bring along their trusted AC's and gaffer to almost every project.


P.P.S: From the 4th edition of ,The Camera Assistants Manual by David Elkins, S.O.C, pg. 324- 326 within the chapter "Before, During, and After the Job"

The Job Interview: Now that you have prepared your resume and sent it out, you are already to go on that first job interview. In most cases the D.P., Production Manager, or both will conduct the interview.
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I know the DP does not officially do the hiring process (PM's job), but you really think they don't choose who they want working in their department?
 
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