What are some tricks of the trade?

roxics

roxics

Veteran
I never went to film school or had the pleasure of working on someone else's production, let alone a big production. I learned everything through videos, books, online forums/articles and just getting out there and doing it. As a result I'm sure there are a lot of things I've missed. Little things pro production people do every day they typically fail to mention online or elsewhere. I know this because every once in a while in casual conversation about a topic someone says something under the assumption everyone knows it becuase it's just a routine thing for them. Yet I'm like "oh wow, I've been doing professional video production for over a decade and never knew that." It's times like that that I realize I could probably learn more in a day on a real film set than a year online or tinkering by myself.

I'll give you an example:
A couple years ago someone mentioned raising the top section of a light stand before the bottom section, that way if you need to go higher later, you only need to adjust from the bottom rather than reaching up. It makes absolute sense. Just wasn't something I ever thought about or knew before.

Another is dealing with non-pro talent who are nervous. After getting a take that works but isn't all that desirable, I'll tell them "we've got it in the can, but let's do another one just for fun. A bonus take." Which 90% of the time is the take I use because they are more relaxed knowing they are off the hook.

So what are some tricks of the trade, or best practices? Small things, big things, gear things, people things, doesn't matter.
 
I think the only way to learn the tricks is to work and work with people with experience. And to do mistakes because you learn so much more by doing it totally wrong than doing it half right.

All the tricks goes silently into ones backbone and pops up when you need them.
 
Raising C-Stands from the top section was the first thing I was going to mention lol. Never work over your head!

This applies to life too, not just productions, but if you're traveling any distance with gear, it helps to take a minute (Literally sit down and wait 60 seconds) to clear your mind before leaving. Usually if I've forgotten something I'll remember it then instead of 5 minutes down the road...or worse, during the shoot (Guilty).
 
For wireless, you don't have to put the receiver on your camera. Put it just outside the shot. Then run an XLR cable the rest of the way. This is what Hollywood does if the recorder is going to be far away from the subject.

More:

Luke Seerveld, "Meet the Gaffer". For example, he has a video about C-stands that covers what PeopleCanFly was talking about. Many people on this forum have recommended him.

Ron Dexter. A lot of old stuff, but a lot of stuff overall!
 
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Don't give away secrets on public forums. :grin:
Deliver what the client wants, at the highest quality for the lowest price while still being profitable.
And know the client is always right.
Until when the client isn't right anymore... it's time to find a new client.
 
Knowing how to properly wrap a cable is a basic but necessary skill on set.

As a director/producer, knowing when to 'take five' is important. Sometimes we get so keyed up about shooting, since time is money, that we forget to stop every now and then to take a breather and give yourself time to think.
 
First learn your kit/skill inside out.

Then learn people.

For example Ive been severely bollocked by one art department for touching a prop.. and another art department considered me lazy for not making small adjustments to props but forcing them to walk over and do it.
 
I’ll put in keeping your knee off the ground when plugging or unplugging eletrical/power cords. something about electocuting yourself.
 
morgan_moore said:
For example Ive been severely bollocked by one art department for touching a prop.. and another art department considered me lazy for not making small adjustments to props but forcing them to walk over and do it.
Click to expand...

That second department has their priorities upside down (talk about lazy!) You were showing them the appropriate respect and they turned it against you? Ugh. There's a good example of what NOT to do.
 
CharlesPapert said:
That second department has their priorities upside down (talk about lazy!) You were showing them the appropriate respect and they turned it against you? Ugh. There's a good example of what NOT to do.
Click to expand...

The point was the second 'art dept' (as was introduced to me) was actually the product manager for the client.. I should have taken the time to chat to them and establish the base lines.. I have an over assumption on corporate shoots that it will occur like a drama shoot department wise.

If I had taken the time to say, "we are doing packshots for 3 languages and 4 flavours (it was gum) - I will not be touching anything to make absolutely sure that filming the spanish rasberry is not missed - I consider it your job to keep on top of that and dont want to break your flow by moving stuff or getting finger prints on it" Im sure he would have understood.

My problem of not communicating what seems obvious to me to others.. especially at the mid/low level.

Of course it is another art not to patronise those who do know what they are doing.. so skill is required!

In the first case the art girl was actually really expereinced art dept.. but had worked with me before on another shoot in a runner role (she was not punctual on that first shoot so I put her in the bin (trash can) of 'bad runner').. again I should have communicated more.

What we see here is the mid level is hard to navigate!

That is my tip.. gain those communication skills :)

and going back to camera side.. that has to be done on auto as all the mental effort goes into the communication.
 
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Here's a tip. When working on a bigger set, take just a second or two and think about every single thing you do. I worked third camera on a shoot for a film yesterday, I was not the DP, just a camera op. To make it a little more confusing, I have been DP for the same director and producer's other films and am still in production on one of their films as DP. Four camera shoot, I was on a camera getting a sequence of just one musician (the piano player). DP was riding a Fisher 10 dolly just to the right of me, getting dolly shots of the whole group, everyone other than the piano player. Second Op was flying another camera on a 12' Jimmy Jib over the same space as the dolly shot. DP asked me to set up my camera at the end of his track. When I looked at the shot, it wasn't working, I was too far behind the pianist to get much. The producer wandered over and asked how my shot looked. I showed him and we both agreed that my location was wrong to get what he and director wanted. A lot of ops would have have just moved their camera over to get the shot what worked. But I stopped, thought about it and waited until the DP had a little break from setting up his dolly shot. I then quiety asked him if he could come over and take a look at my shot. He did and then we both agreed to move my camera over to the right so it could see both of the pianists hands on the keyboard.

The point is respect the chain of command. If was the DP on this shoot, I wouldn't have wanted one of my ops to just move their camera over without asking me. Even though I am a DP, on this shoot, I wasn't, he was. Not saying don't make decisions for yourself on a set, but for something creative like that, all ops and the keys MUST defer to the DP because the DP is essentially running the grip, lighting and camera op crews and if he doesn't know what each is doing, chaos can ensue. It can get tough when a producer asks you to do something but technically, you are a camera op and all requests and commands should come from him, not the producer or director, although they are ultimately in command of everyone. It can be as simple as meeting the DPs eyes and a nod, if they are watching you interact with the producer/director. Or acting as if you are going to do what the producer/director asks, but just take a quick detour to run the request through your DP. This is where set politics can get sticky and it takes people skills to be compliant and helpful yet respect the chain of command.
 
morgan_moore said:
and going back to camera side.. that has to be done on auto as all the mental effort goes into the communication.
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Just to expand upon Sam's last point... I think anyway, which I agree with - is that as DP / Operator (for those of us who like to do both) - I do feel you really need to know your stuff when it comes to camera knowledge and f.o.v's / exposure / lighting requirements. Being done "on auto" - assuming meaning knowing it so well as to be able to explain it - in non technical terms to those whose job has nothing to do with technical - is part of being "skilled". Planning shoots, scouting & especially hiring lighting instruments / G&E / help in advance of shoots takes knowledge & experience. Communicating that knowledge, getting non-actors or even sometimes actors - or art dept. or food stylist, or extra's etc etc. to "perform" as needed and then getting enough of a budget / time to pull off desired shots within that budget time/frame...all part of the job sometimes (especially on small budgets). Can't be futzing with multiple lens swaps to get the right "look" if camera dept consists of one.
 
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