Should I hire this DP?

[Paul F]

Why bother? Because he has a jib and stabilizer.

In our last chapter, ironpony used an editor and/or an audio engineer and got a final edit without checking in with the editor during the edit; then questioned DVXuser 'what if it sucks?'. So the same should apply here.

How did that last project turn out? How about some frame grabs?

 

[j1clark@ucsd.edu]

I know DPs are normally not the 'camera operators', but it's nice to have a person who can do both, since good pros are hard to find.

Many DP's operate or would operate were it not for union rules. I think there are special waivers that can be gotten these days for that.

But as 'usual' for your various posts, the type of person who you seem to 'pick' or 'have available' does not appear to be particularly 'high grade'... but then perhaps the amount of money you have available is not 'high enough' to attract that sort of level of expertise.

Since I have been doing still photography for years, most of the 'young people who have a camera' (usually can't even spell Vertov...), have no real idea about movie photography, lighting, using 'fancy' equipment. They managed to afford a 'fancy DSLR' camera. Even people who have been shooting 'events' with 'video cameras' often don't know how to work things for a 'narrative' film, short or long.

The lack of a 'jib' or other 'fancy equipment', really should not make or break a film. Given that for most films, till the mid 60's were shot on tripods, and perhaps huge cranes, and dollies, but mostly 'sticks', you can make many many films with the camera locked off on a tripod. (You can also practice with 'hand held', that is with your own hands... not some 'steady cam' deal, as did a number of filmmakers in the 60's with small 16mm or 35mm cameras... a DSLR is much lighter than most 16mm Film Film cameras and probably lighter than any 35mm camera...)

Film Editing and sound... many people are using Premiere, Final Cut of some version, or Sony Vegas and... GETTING FILMS MADE...

At this point if I had 1500 for a film, I would spend it on lights and location... and figure out how to do 'sound' myself... there may be some fancy stuff that a pro can work, but there are many resources that you can use to learn the process your self... then when confronted with someone, you can evaluate their claims to skill.

This same principle holds for photography as well. Learn to shoot with a DSLR and then you can evaluate someone's 'claims'...

 

[Patryk_Rebisz]

Look, a DP doesn't come with gear (except for a light meter and some duck tape if you're lucky). If it's the gear you wanted and you couldnt rent it yourself be happy with what you get. The kid is obviously an amateur and obviously, so are you.
(And how bad are you at reading people if you work with someone on three productions and can't tell what level they're on craft-wise)

Agree.

 

[paulears]

I never quite understand what ironpony's actual role is? If as I suspect he's the producer, then I don't see why he interferes with the creatives he employs. The possible scenario is where you are engaged to do a job - DP, editor, lighting designer etc and a producer (or director who is unsure) constantly tries to get you to do it their way, when you want to do it your way. Whenever I employ somebody to do a job, very often I want to interfere, but usually manage not to - only jumping in when a misunderstanding of what I need is happening. If they clearly are not up to it, I don't engage them again. If I use an editor I don't know too well, then I schedule regular approval sessions. If I give a steer to a cameraman, and they start framing up stuff I don't like, I tell them - then expect them to follow my guidance. If I engage a DP or director because I'm not up to it - then to not trust them means that they could well be rubbish, but I must be rubbish too for taking them on and giving responsibility. This word is the key. You take these people on and pass to them the responsibility for their work. If you cannot pass this on, and this does seem to be the issue with your productions, then it's never going to work. Can you imagine the really big movie productions with millions of dollars worth of budget - running this way? Does the person at the top even know what the team of animators actually do. Does the Director know or care about the tiny detail No, they care about what the tiny details do, NOT how they were achieved - that's what they pay the specialists for.

Ironpony seems to constantly take on people he cannot work with. He clearly has no trust in any of them, and moans about them all the time. I get the impression he wants to be in control, but lacks the skills and experience to manage people.

 

[mainstreetprod]

Ironpony's threads are a bit like watching a reality show. Maybe they're real, maybe not, but the posts are interesting and the responses are informative, so who cares?

 

[Noel Evans]

No, they care about what the tiny details do, NOT how they were achieved - that's what they pay the specialists for.

First I think the DP you're hiring, if those are his words doesnt know his hand from squat. That aside however I agree with Paul's quote above - if I was hired to DP a job and the director said I want Golden hair light and a number of other things. Then leave me to achieve that look, I dont want to be micro managed by someone who doesnt know what theyre talking about - then again, Id probably turn the job down.

 

[Paul F]

Well the reason I wanted this guy is cause he has a jib and steadicam, and has had practice. No DP where I live has those, just a tripod and a dolly. I know DPs are normally not the 'camera operators', but it's nice to have a person who can do both, since good pros are hard to find.

The reason ironpony wants this guy is the jib and stabilizer. Otherwise, ip would be using the DP used on the previously discussed sucking-edit movie. So other arguments don't apply. It's previous DP without the jib and stabilizer or DP with the jib and stabilizer.

Having worked with said DP on 3 projects, ironpony already knows the answer to the question.