Ethical dilemmas on set

R

randomname

Well-known member
So I ran in to a situation last week that really got me thinking about a topic that I've never been very clear on. as a DP, should I be more concerned with making sure the production is successful or with realizing the director's vision, even if that means disaster? Here was the situation that I ran into:

I was on a shoestring budget shoot as the DP/camera operator. The director is fairly inexperienced and fairly stubborn, and the producer was a pushover. Without my knowledge, the director had borrowed a Merlin from a friend and decided he wanted an incredibly complicated steadicam shot that at one point involved me sprinting backwards and making a 90 degree turn (I found all of this out on location). I explained that, frankly, I'm not that great of steadicam operator, I didn't think we'd be able to pull off the shot, and trying to do it would put us way behind schedule with unusable footage. The director insisted we try the steadicam shot, and the only thing I could think to do was look at it for a few minutes and tell him that I didn't have the right equipment to mount my camera to it (I did). He gave up, and we blocked out a scene that actually worked. Would you guys say that was the right thing?
 
It depends, some directors look to the DP for guidance as thats their craft, some don't, and feel they want a specific look and want no opinions or insight into the shot.

Honestly, without consulting you first about the steadycam shot is unprofessional, if he had the vision of the shot beforehand, you should have known, and seeing as he borrowed it, he knew. There shouldn't be suprises like that when shooting a movie. But you did say they are amatuers.

Now I don't feel lying is right either. I think you should have stuck to your guns with not having the experience, and instead told him to hire a steadycam operator to get the shot he wants. There has to be trust, and even if a small lie to get the production moving is not a good idea. especially if he reads this thread.:)
 
did you go through the storyboard or shot list or scouted pictures with the director before production started? did you request specific light and camera equipment before production started? if yes, you can tell the director that:
- the steadicam shot should have been discussed in pre-production
- you already have a shot list that needs to be done by the end of the day, if we finish early, we can add this shot as a test at the end of the day
- the steadicam shot needs to be queued to another day's shot list for some preparations, testing and planing, and may require a steadicam operator or AC(and ask the director to stand in as the steadicam operator and ask him to perform the test at full speed and record it and review it with the director)
- any future composition, blocking, shot, light, and camera equipment changes needs to be discussed beforehand with the cinematographer

if you did not lock the shot list before production began, you did not do your job correctly and the director has the right to step in and choose what equipment to use and how it should be used, and you did not do your job during production, and you lied to the director and hindered the shot and the entire production may have suffered for it.

there is a difference between lying to get things done your way, and being diplomatic, and doing your job. and it's only your POV that the director is stubborn and inexperienced, and that the producer is a pushover, but from your post, you seem more stubborn than the director, to the point of lying to him to get your way even though he just asked to 'try' the shot and took the initiative to think about the production in his free time or his sleep and come up with a complicated shot sequence and borrowed equipment from his friends. he seems to be doing something at least, but you don't even want to 'try' to better the production.
 
If steadicam shot would look bad - they would blame you.Theres no time for experiments when director and producer are like the ones you described.
Good choice but for the future learn some steadicam anyway.
 
bwwd said:
If steadicam shot would look bad - they would blame you.Theres no time for experiments when director and producer are like the ones you described.
Good choice but for the future learn some steadicam anyway.
Click to expand...

Agreed. You are allowed to say no, to anything you want, and you sometimes should, but do so with a good explanation and relationship with those you say it to. Remember, they are allowed to respect your no or replace you if they want.

But there is a great quote from Gordon Willis in Cinematographers Style:

It's at 6:24 ... http://www.youtube.com/watch?v=wq1DQdIEYAg&feature=player_detailpage#t=384s

 
IMO, after you expressed your concerns, you should have attempted the shot.

You could tell the director and producer that you do not want to be held accountable for the quality of this footage and that you don't agree with shooting this sequence due to the technical challenges, lack of experience, lack of planning, etc.

Now all this may impact the day's schedule, especially if you have to get a different setup of this scene as a safety. But I'm all for shooting tons of stuff, as long as it doesn't terribily impact the schedule. Who cares if the sequence never gets used. You probably learned something shooting it.

As others have said, inform the director and producer that in the future, all shots must be planned out in advance, especially technically challenging ones like this.
 
whoever is supplying the money/whoever is paying you, especially on a shoestring budget film, is boss. If the director is paying you, then you have to do what he says as long as it's safe and within your contract. I would pull them aside privately and say, hey, this is not something i'm comfortable doing to save his ego. if he's too stubborn youre screwed.

on a larger production, this is something to consider--
what I've heard/seen some DPs do when they don't agree with a director is put "SHOT UNDER PROTEST" on the slate.
naturally it might not be a good thing to advertise your disagreement with the director
but on expensive films where you know the shot will look bad, do not want it to be a reflection of your skills, yet you are forced to do it, and it can potentially cost you your job with the exec producer because they think you're a terrible DP, it's something to consider.

money is boss. if youre shooting for free, think about your connections. my coworker once told me the quote
"watch the toes you step on today because they may be connected to the *ss you kiss tomorrow"

hope that helps
 
You are working for the Director, and you're helping him bring his vision to life. Realistically, this should've been discussed with you beforehand, and you should always voice any concerns on the day. At the same time, you should also be ready to suggest an alternative. Obviously the steadicam shot will cover a part of the scene that you'll now need to cover another way. If all else fails, do it both ways (assuming the setups are the same or similar). In the past when I've come up against first time Directors, I've simply conceded that we'll 'do it both ways' and they can pick what looks the best in the edit. 90% of the time, they pick the shot that you suggested would be better as it is usually better.

Realistically though, when it comes to Steadicam - if you know the shot's not going to be great, then IMO it's never worth the extra setup time to do a shot you know will be awful (such as attempting to so a steadicam shot when you've never even attempted to balance one before).

That said, sometimes we have to do shots we don't like to satisfy a Director. It really comes down to your own judgement I think.

I have in the past voiced brazen concerns about an inexperienced Director who wanted to try and mount an Alexa on a Merlin. I convinced them that it was not only unsafe, but also not the right way to get the shot they wanted anyway.
 
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