With a grain of salt...

[milksac]

you asked if you should just shutup and screw up the shadows and nice lighting setup you made. the answer is yes, it's his film to screw up if he wants to.

This is about as unprofessional as it gets. The gaffer should voice his opinion about the lighting - he was hired to provide that expertise. To remain silent is a disservice to the job. If the director insists on lighting a certain way the gaffer should comply with his request, however that doesn't mean he should shut up. From what I've read Chagrin conducted himself in a professional manner.

We took a little walk to another room and I explained what bouncing one of his beloved photofloods would do to the scene.

Pulling the director aside avoided a potentially embarassing situation. Chagrin voiced his objection. The conduct of the director in unfair and uncalled for. There's no reason to start playing the blame game - it serves no purpose and does nothing to move the film forward.

Even though the director is seemingly incompetent we shouldn't allow the actions of others to dictate how we behave. Meaning, it doesn't matter if the director is an idiot, a jerk or a genius. Chagrin should conduct himself in a professional manner. IMHO posting an ongoing diary of the experience crosses the line of professional behavior.
my 2

 

[dougspice]

I don't agree with that. He hasn't used any names, and your very post proves that there's something valuable to be gotten from reviewing the situation and how it should be handled better! Everyone gets into this sort of position at one time or another, and it's good to build on the experience of those who came before you, or at least to learn to spot the warning signs.

 

[Jason Miller]

milksac this is true, but there comes a point on a production like this, for him, now being that point where the track record is, the director doesn't care what the gaffer is saying, it is up to the director realliy to use the gaffer as the gaffer, or as a grip, just like a lot of directors use the dp as just a camera man, once that point is reached, there really is no turning back, everything rests on the skills or lack of skills of the director. At this point, just toss your hands up in the air and say wtf, and just start moving lights, and make a note to not work with him again.

and as far as names, I'm speaking of credits, imdb and stuff, if a project your working on is unwatchably bad. dispite your skilled efforts, then I say use a fake name. I know I wouldn't want my name on the gods must be crazy part 2, if I ever had hopes of working again lol


Jason

 

[chagrin]

Ok well, yes pitching a fit online is not the most profesional thing- but please read the title "With a grain of salt". I'm not bitching for the sake of bitching, but also for entertainment. It is funny- I'm keeping myself in the situation. My choice. So laugh, cry, scream with enjoyment- But I'm not looking for sympathy or judgement. No way in hell will I use my real name, thats a given- more fun to come.

 

[taormina]

Keep it coming - it's fun and educational.

 

[Loki]

Even though the director is seemingly incompetent we shouldn't allow the actions of others to dictate how we behave. Meaning, it doesn't matter if the director is an idiot, a jerk or a genius. Chagrin should conduct himself in a professional manner. IMHO posting an ongoing diary of the experience crosses the line of professional behavior.
my 2

Since this director sounds like the least professional person on set... what goes around comes around.

IMO this guy doesn't deserve professional treatment. When you screw up, you own up you don't play with smoke n mirrors.

 

[chagrin]

Weekend 2/Day 1

I show up directly on location with my usual ton of gear. I didn’t bother going to look at the previous week’s footage. The director meets me at the door and assures me that the stuff we shot the week before looked good, however a bit echo-ee.

I have to digress; we are shooting in the northern east coast of the country; in an area where a ton of millionaires and even billionaires live (hint hint, a little north of NYC). So naturally scattered among the estates are the posers. Hmm tough word I know, but what else can I call them? Everyone knows one of these people—always trying to keep up with the Jones’. They do this even though they can’t really afford it. They are by nature upper-middle class, but because of their income to debt ratio, they live paycheck to paycheck. In essence the owners of the location we are shooting at are “House Poor”. They have this huge friggin place with almost no furniture. Of course it has 16’ ceilings and hardwood throughout. But no rugs, wall hangings, a couch here, a chair there. Believe me when I say it aint Feng Shui that’s dictating their decorating decisions. So yes sound can be a *****. However its not bad. I have gear but I’m no production company- so I suggest we rent some moving blankets or acoustic foam. “Are you trying to blow my budget”? Too bad I have a case of Auralex foam left over from when I built my studio; huh it escaped me—forgot to mention it to him, damn. Oh well.

So I start to set up in another room in the house. It will be a morning shot on the opposite side of the house. Have you been paying attention? That’s right! If the back of the house is flooded with light in the afternoon, guess what side is flooded with light in the morning? That’s right the side I’m setting up for the morning shoot. To make matters worst two of the PA’s flaked out but I have my buddy. I think I’ll call him “Fritter”, Danish just sounds stupid. (This is the guy I asked for a half apple and he went to Kraft service, telling me that they didn’t have apples out yet but they had apple danishes, no seriously) So anyways Fritter and I head outside to set up some diffusion.

We do that without too much trouble from the local wasp population (swarms of those f**kers had been around the week before) when the neighbors decide to crank up the AC/DC. Great, a morning pool party. We go inside and I start to hang some soft lights while Fritter hooks up the sound gear and gets my laptop and firewire cables. I have him hook into the camera (now on sticks) and get Scopebox running. Cool- while the director is talking to the actors and picking wardrobe I am able to light in peace and quite. I do a simple set up because we will have four actors sitting at a table and I was told that we don’t want too much down time, “It kills the actor’s rhythm” I’m informed.

“Is this all the lights you’re going to use, what the hell do you have hooked to my camera”? Here we go again. At least I have the decency to pull this guy aside when he’s wrong, does he offer me the same courtesy? Nope, all the actors and the AD, plus Fritter, (who believe it or not is starting to get a clue that our fearless leader is kind of a hack) are all standing there. Now this is where it gets good- its not even 10am yet and I’m already getting pissed off. Our resident camera expert (the director/DP combo, who not a week before shot a whole day in the wrong format setting) informs me that the DVX has a sensitive firewire port, and that having this cable hooked to it while shooting could damage the connector. Ok, sorta true, but that’s why there is slack between the connector and the handle where I tied the firewire cable off to, the same place I tie the audio break away!!

Alright, I’ll stop yelling. I just nodded and smiled while the “Brain” (Mr. Director/DP) asked Fritter to get his photofloods—god damn it.