Looking for a DP (and crew)

M

Mike Brent

Carbonite Member
Hello,

I'm looking to hire a DP / camera operator (steadicam operator) for our feature. What would be the best place to post an ad about this to get as many applicants as possible? Whats the biggest forum for crew?

Thanks
 
Agreed. Note that I think you are only able to post once on Mandy.com for free. Then you either have to wait 30 days to post again or pay for an account.
 
Also be prepared to have a budget, you may find someone on craigslist that is cheap, but trust me you won't like what you get.
 
Well, it will be a feature, its an indy. We have a budget but a very limited one. We are going to buy a steadicam and find someone who is already a DP but does not have a lot of experience with a steadicam and would be interested to join us for the experience and credit for shooting a feature. We can pay but not a lot and I want to keep the crew at just 5-6 people. How much you think we should pay?
 
Mike - What city and state are you in and where do you plan on shooting the film?

What is your budget? That will help determine what you could pay your DP.
 
I hate to say it, but buying a Steadicam and bringing on someone without a lot of Steadicam experience could end quite badly. The Steadicam isn't something you can just pick up and use - especially if you're expecting good quality operating. I know that if it were my feature, I wouldn't hire a DP who "does not have a lot of experience" with lighting, and I think that really good Steadicam operation is that same kind of art.

Most proficient professional operators have taken at least one workshop, and have years of operating under their belt. Even someone with a few months or years of individual practice will be better than someone who's never used it, but I'd bet that with the budget for buying a Steadicam, you can afford to get someone who's comfortable (even if he/she just day-plays on the days you need!). Plus, if you bring on an operator, you can be sure that the equipment on set will be something the operator would be comfortable standing behind, and you can also get all of the parts you need, rather than figuring out right before a shot that you don't have some essential bracket or cable or tool that could have saved the shot.

Especially if the film is Steadicam-centric (as I'm guessing it is if you're going to buy a rig), I'd go with someone who knows what they're doing, whether they be a dedicated Steadicam operator, or a DP or Camera Op with some experience.

However, your milage may vary with this, and you may stumble across somebody with some real undiscovered talent. I just know that even though I took my workshop in 2008, and I'm still not really ready to get out there in the professional market yet - I just don't think my operating is quite there yet (even with 2 years of practice).
 
Well, if we get the rig then that person can practice 12 hours a day for a whole month... its not brain surgery.
 
Tom gave you great advice. You should follow it.

Do you really think the professional cinematographer you hire is going to spend 12 or X amount of hours per day practicing to use your rig?

Steadicam operators have a skill and artfully apply it. Cinematographers have a skill and artfully apply it. You are going to be hard pressed to find one person who does an amazing job at both for a small budget production.
 
Look....

I can decide that I hire the best DP, the best operator, the best from everything, and then I will just spend too much money and will tell myself "the hell with it, I just can't do this" and will cancel the whole project.

or

I can jump into the water and try my best with what I have.
 
I'm not saying that you need to hire the best in town - and for all I know, there might not even be any operators in your area. However, I just think that if you take whatever you had budgeted for Steadicam, shop it around, and see if anybody would be willing to work for it, you might come up with someone who could use the footage for their reel, or someone who is willing to do some work for cheap. I don't know what your budget is, so I can't say how feasible it is, but I think you might be able to pull it off.

Worst case scenario, you end up with an inexperienced DP doing Steadicam, and the results aren't great. If that's all you can afford or make happen, it's better than not making a film, but I just think you shouldn't box yourself into that until you've seen if you can do it a better way. I think it would be the same argument if you were looking at hiring a DP who's inexperienced, or a boom op who's inexperienced, etc... Sure, they may make making your film possible, but if you could, wouldn't you hire someone who you know will do a better job, especially on something that's a quite complicated craft?

In all seriousness, good luck with your film. I hope you can make it happen.
 
...or you could just try to reduce or eliminate the steadicam shots. Invest your money in a good dolly/jib setup and you could successfully shoot most of your shots on it. And trust me, it's a lot easier to pull focus on jib than it is on a steadicam. Then you might have to look into a wireless follow focus system.
 
Hey Mike,
just thought I would chime in here. I shot a feature last September and I did STEADICAM and was the D.O.P. So speaking with a little experience, it was not easy. The STEADICAM is hard physically and mentally. Plus you will need a 1st AC with a wireless FF who is good at what they do. I see that you want to keep a small crew. Here again I had a small crew and was always wishing we had more. I think you are setting yourselves up for a very hard shoot. The one thing that will be important to you with such a small crew will be your stamina. Pace yourselves. You want the work from the first days of shooting to match the last days of shooting, that is where the food comes in. Just a quick rundown of essential crew;
1. Director
2. D.O.P/STEADICAM
3. 1st AC/DIT?
4. Sound op/Boom op
5. Makeup?
6. Grip/Gaffer
7. Script/Continuity
8. Wardrobe
9. Transport?
10. And probably most important, FOOOOOD. You will want to feed these people, and not just pizza.
This is a small crew, and I have doubled up some of their jobs, which is not a good idea. I left out a few key members like a 1st AD who is really essential to a smooth running set. Your script might not be as involved as the one I shot but trust me when I say, more people equals easier shoot. Just my two cents. Good luck. And if you are shooting in Montreal give me a call as I am a Cinematographer and STEADICAM op.
 
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Why don't you step back first and ask why your script apparently doesn't warrant the money needed to hire professionals? Do you feel it's really not that good? Why haven't your feet hit the pavement to find some investors so that you have a proper budget?
 
For what its worth, enthusiasm will carry you a long way, I just hope you have enough. Now go make that film!!!:)

Just thought i'd ask, where are you located?
 
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