Losing jobs due to availability

K

KKeller

Well-known member
Why is it that on potential jobs a director or producer contacts me about, where they make first contact, I lose a job because I am not available maybe 2 or so days out of the month long shooting time? Productions re-arrange their shoots based on actor availability but not crew. I know they can't shoot without a DP but those days could just be days off. If they want a specific crew member why wouldn't they make accommodations to get that crew member like they do talent?
 
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A two to three day delay can equate to anywhere from a few hundred dollars to well over 100,000 dollars. Many television shows blast through 100,000k a day. Time is money. That's the short answer.

If you want the gig. I guess you have to make accommodations. Moving skeds for an A-lister or someone the above-the-line staff need to make the film great talent-wise does happen, because lack of one actor for a day doesn't mean the show has to shut down. A DP, the entire show needs to shutdown.
 
I am not talking about large budget productions where people are from out of town and everything is provided by the production. I am talking about local, low budget stuff that could significantly benefit from having this crew member.

(It may sound like it but I am not talking about myself, I am just putting myself in their place for ease of conversation. All hypothetical stuff.)
 
Most low budgets (under $100K) don't even recognize what a DP does. They think a DP is a glorified Camera Man. LOL They use the term because it sounds great. On my shoot me and another guy together were the DP, he was only the DP alone one maybe one or two scenes. If the budget is ($500K) then the production can't move stuff around for people who cost 50% of the budget especially when more DPs are available. Again people don't recognise what a good DP has to offer, but even as Mattykins said the actors generally work in project after project moving around so it's easier to work around their schedule. It's difficult to work around a crew's schedule who people assume should be available everyday.
 
^ yeah - for running camera for a two-day shoot in the director's condo with a DVX and lowell kit, they were kind enough to (unasked) enter me on IMDB as cinematographer. I mean, it's a nice thought but kind of silly.
 
The mimicry of the low end indie. I once saw a guy listed as DP and he didn't know how F-Stops work. The low level indy is just a bunch of guys running around playing make believe with bullshit cameras.
 
KKeller said:
I am not talking about large budget productions where people are from out of town and everything is provided by the production. I am talking about local, low budget stuff that could significantly benefit from having this crew member.

(It may sound like it but I am not talking about myself, I am just putting myself in their place for ease of conversation. All hypothetical stuff.)
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Same logic applies with low budget indie stuff. (Since one poster seems to dislike the use of indie) I'll say, Ultra-low budget productions, which can be extremely professional just not as much money is moved around.

Even with a ULB (I'm lazy, so Ultra Low Budget) there is significant time commitment by everyone. Equipment rentals, time people have taken off, crew housing. A delay of a day can be detrimental.

Like I explained earlier, when the A-Team is MIA, shooting can still go on with extras, with second leads, with other people. Even if no one is available with the top listing people, shooting backgrounds and B-roll can still be done.

When a critical crew member is MIA, wether it be an above-the-line staffer or a department head (a la: DoP) and even critical non-department heads (Sound recorder, makeup) not much shooting can happen. When the DoP is MIA, nothing can really happen. Sure, you can replace the DoP for the day, or have an operator or AC cover, but you are still missing the head of the department.

So while you're (or the friend aforementioned) a critical asset to the team, or can be...you're missing a day of shooting would push the schedule back. If weekends are the only days the ULB indie is shooting, then that is another weekend you have to tack on, if the entire thing needs to be done in a week, because of a rental, then you have to add another day on the rental.

It's not that actors are lucky, they just aren't needed on set at all times. Crew members, for the most part, are.
 
Speaking from my own experiences as a no budget indie, I find it's difficult enough to deal with actors availability, so I don't even bother with a DP. Actors are a necessity, a DP isn't. I know I'm going to take some heat for this, but I can accomplish my vision just as well as a "real DP" in probably less time since I don't have to communicate what I want for lighting, angles, or focus. I'm not opposed to working with a DP, but I'm not going to accommodate one either. On a larger shoot, yeah it might be different, but for the features I'm doing right now, it's less headache. That, and I enjoy being my own DP.
 
El Director said:
Actors are a necessity, a DP isn't. I know I'm going to take some heat for this, but I can accomplish my vision just as well as a "real DP" in probably less time since I don't have to communicate what I want for lighting, angles, or focus.
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I think you're a real keeper. You'll go far. :)
 
Ryan is right
I don't like to comment on pure ignorance but please be smart and don't post dumb statements like that in the cinematography section.
 
Wow, it's like you guys didn't even read the rest of it. I don't see how my opinion is a dumb comment. I take just as much care lighting my shot and composing the shot as a "regular DP", I just do it myself. So according to you, directors can't be DP's because it's "not how it's done?" My methods work for me, and that's what filmmaking is about... finding what works for you. And if this is a cinematography section, why can't I comment on how I do my cinematography?
 
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just gonna say, Owning a Camera a DOP does not make.
The DOP is a managerial position in addition to a creative position. if youre not prepared to break down a script, plan out what equipment is needed for each day and at what times, while at the same time, working directly with the Director, Producer, location scouts, Art director, Costume and makeup departments, while crewing up and dealing with the unions.....

I dont think you have what it takes. Oh and we haven even begun rolling yet. This is just preproduction activities. Then there is on set, and post responsibilities as well. Whether it be with the lab/colortimer, or The DIT or the color grading departments you hands are wet the whole time. Its basically you and the Director are in it to win it.
 
El Director said:
Wow, it's like you guys didn't even read the rest of it. I don't see how my opinion is a dumb comment. I take just as much care lighting my shot and composing the shot as a "regular DP", I just do it myself. So according to you, directors can't be DP's because it's "not how it's done?" My methods work for me, and that's what filmmaking is about... finding what works for you. And if this is a cinematography section, why can't I comment on how I do my cinematography?
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I think you have a point. Robert rodriguez is his own DOP.

Perhaps say it nicer next time. Text doesnt translate well in the Internets. people can misunderstand your intent. No harm no foul.

Moving right along....
 
yeah I didn't want to pick a fight. I think we just took offense to the way you came off with that statement. It seemed like you were saying that a DP just slows you down. Once you start working on bigger projects you will appreciate having a DP who makes your visions happen.
Peace
 
Amid the strange ingredients of Hollywood — a world typified by the human swarm and the artistic abstraction — there is a figure unknown to the chants of promoters and glorifiers. His hand has rarely held the scepter of public acclaim, his brow is not crowned with the envied olive leaf which so often settles upon the lordly producer and queens of beauty. This figure, a giant in his industry, is the cameraman — the sine qua non of a profession which often boasts that no one in its ranks is indispensable. No one, I say, save the cameraman.

I believe this is why:

He is the custodian of the heart of filmmaking as the writers are of its soul …

His tool is a box with a glass window, lifeless until he breathes into it his creative spirit and injects into its steel veins the plasma of his imagination …

The product of his camera, and therefore of his magic, means many things to many persons — fulfillment of an idea, an ambition ... realization of dreams …

He is the judge who applies the laws of dramatic effect in complete coordination and fellowship with the director who interprets those laws …

Light, composition, treatment are his instruments of power, which he wields with intelligence and sensitiveness to bring to full bloom the meaning of his art …

His versatile management of an intricate mechanism yields astonishing
results in mood, emotion, dramatic effect …

A slanting shadow becomes a shattering portent of doom …

A lifeless chair instills the feeling of infinite sorrow …

A dead wall awakens a foreboding of plunging terror …

A flash of a man’s face rises to the grandeur of drama, inspiring and ennobling …

Before his wizardry, wrinkles fade from the faces of Hollywood’s ageless, imperishable beauties… chins take on lovely contours… years melt away ….

Yes, the technique of the cameraman is the technique of artistic vivisection that lays bare the inner workings of our profession. If art can be said to be the expression of beauty in form, color, sound, shape or movement, then it must
be said that same art is the art of the cameraman — expressed in the boundless reaches of his imagination.

For his patience and singleness of purpose in a most arduous work, he is eminently deserving of that which is justly said of few men: “He is a true artist.”

— Cecil B. DeMille
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Dramatic... yes. But that's the movies for 'ya.

After re-reading your original post, I am going to retain my original stance on the matter. I do understand the simple fact your comment reads worse then intended, yet I find the underlying idea just as controversial.

You are quite possibly presenting this 'idea' to the worst audience imaginable, I quite being the worst individual. I'd hate to walk into a Baptist Church and start debating Christianity. With that said, I find it difficult to comprehend your inability to find the time to 'deal' with or share your vision with those collaborating alongside you. Doing it yourself is the wrong way to go about it. Are you really that good? Are you the star quarterback who doesn't need a team?

Film making is a collaborative effort despite whether it be a student film or Hollywood blockbuster. It requires the talents and dedication from many talented individuals to bring a film to fruition and success. By sharing your vision through proper communication, those talented people can share and add their ideas in the arena of their area of expertise. From the dawn of cinema, the cinematographer has proven time and time again to be (arguably) the single most important collaborator on set (art dept too!)

A director being able to be a good cinematographer is a rarity at best. Doing both jobs at once, and doing it faster + better than an experienced, knowledgeable, creative, and dedicated cinematographer is a joke. One can argue that Robert Rodriguez is his own DP... and it's almost true. Although I'm not a big fan, that man has undeniable talent oozing from his eyeballs!!! But, he acts as a DP on the aesthetic/creative decision levels... and strictly to those levels. The beauty of Cinematographers is the balance between artist and technician. A cinematographer knows how to tell a story with visuals, how to evoke emotion, create mood, calculate Depth of Field equations, calculate exposure variables, and other highly technical issues which experience accumulates over years of hard dedication and discipline. When RR is Director/DP many of the cinematographers responsibilities are dispersed among the remaining camera, lighting and art departments.

I know where you are coming from but think it's a stance only one person in every generation can really take with great success.

No worries.

To actually weigh in on the original question... You're available if you're available. If you have two or so days overlapping and they go with someone else, you should have had the director in your corner... always. I'm sure Spielberg would delay production and reschedule if Janusz needed two days on the schedule. And likewise. The director has LOTS of power, and if they really want you I'm sure the case could be made on your behalf. On the other token, if you're busy.... you're busy! An actor, unless A list or HUGE part, can't get away with this either. I guess you gotta pick and choose your jobs. Be thankful you're working! :)
 
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ps: Sometimes professional DP's will have projects go over schedule and into when their next big gig is to start. Explain your situation to the first production and see if near the end you can recommend a colleague, whom you trust, to come to set... learn the pace of production, lighting style etc, and then you leave the last two days and he/she continue the production in the way you have established, demonstrated and instructed.

This happened to Nestor Almendros, ASC on Oscar Winning Cinematography film 'Days of Heaven'. The film was finished by Haskel Wexler, ASC in which much of his footage was used in the film. It happens. Best thing to do is have the director fight for you, and/or discuss a short term collegue to finish out a small overlap time.
 
Ryan Patrick O'Hara said:
A director being able to be a good cinematographer is a rarity at best. Doing both jobs at once, and doing it faster + better than an experienced, knowledgeable, creative, and dedicated cinematographer is a joke.
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Well I think there is a little flexibility with that statement, I do think one can be a director+DoP on the same set and accomplish the same results just as fast and accurate as two people if not faster at times.

It is an enormous stress on the person but sometimes the results are worth the wear and tear on the director/DoP.

Note: I am not referring to a prosumer camera shooting, one man crew, low end indie shoots but to well staffed and budgeted productions.
 
I don't know if I quite agree that things can happen just as fast and accomplish the same results....If you have someone that's not able to look at just the picture and another to watch only the story, surely things will be skipped over. Not only that, but I feel like while the DP lights the set, it's a good time for the director to prep his actors on the coming scene. I would imagine it would be a bit harder for the director to do that if he's busy lighting the set and thinking about technical problems that could be arising.

I mean, sure it can be done, but I don't know if it's the most efficient. I feel like if you did do that you would probably pass off a lot of your responsibility onto your gaffer, and if you're going to pass that off, then why even be the DP?
 
lairhair said:
yeah I didn't want to pick a fight. I think we just took offense to the way you came off with that statement. It seemed like you were saying that a DP just slows you down. Once you start working on bigger projects you will appreciate having a DP who makes your visions happen.
Peace
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Uhh, yeah. But then again I appreciate everyone so much because whoever is working on my set usually has something to contribute that absolutely makes the project better. But I've worked with some fantastic DPs who I've learned so much from, and it has helped me understand better what I'm looking for personally, what is possible, what I can ask in the future of a DP, and more than that I think a truly great DP doesn't have to pretend they are just some sort of a technical person who is there to light a shot or deal with a camera. The DP I shot three of my music videos with always helped me fine-tune my story considerations, and asked questions I hadn't thought of that were essential to the project. These ranged from everything like had we considered the implications of the uniforms, are they too Nazi-like, are we sending the wrong message, how can we clearly make the audience know these are the good guys, those are the bad guys, to stuff about makeup and casting. He wasn't trying to overstep his bounds, and absolutely wherever I would give my opinion or say "this is how it is," he would be fine with that and move along. He trusted me to do my job. But he also had my back and was making sure that I was considering the wide range of things that would make this project better.

A DP can be a really key collaborator that is much more than some technical position.
 
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