Mistakes to avoid on the first feature?

[Morgan Peline]

Hi,

 

Just out of interest...what mistakes should a DP avoid on his or her first feature - any ideas?

 

Cheers

Morgan

[J. Lamar King IMPOSTOR]

Sorry if this sounds like I'm being an ass but the mistakes you want to avoid are ALL of them. To me a component of good photography is the old saying "Mind your p's and q's." It's the same with shooting, you have to pay attention to detail and hopefully your guys do too. It's why the DP is the guy you can find the easiest, he's always on set! Or at least he should be... :rolleyes:

 

Sometimes it feels like you aren't even creating anything because you are so bogged down in the details, but those details are what gets the good poop up on screen.

[Michael Nash]

Hoo-boy. That's a big question. There are a million different mistakes one can make. But don't let that daunt you. :P

 

Don't attempt to be too "precious" with your photography, since you've got a LOT of shots to cover in a finite schedule. Instead concentrate on the "broad strokes" of the look, make sure that all the creatives are in agreement as to what those are during pre-production, and then refine or improve the shots as you can along the way.

 

Think of shooting a feature as a marathon -- not every step is going to be perfect, yet you need to keep taking those steps to reach the finish line. It's a lot of compromises to make the day and stay on schedule. The better thought out and simple the "broad strokes" are during prep, the easier it will be to acheive them during the shoot.

 

Be flexible with your plans, and have some backup ideas ready in case things fall apart on the day (lost locations, schedule changes, additional or re-written scenes). Things happen, and you have to be ready to roll with it.

 

I'm sure others here can add many more good tips.

[Phil Rhodes]

Hi,

 

Lock down the exact postproduction plan before starting.

 

I don't shoot features, but I hear of obvious mistakes all the time.

 

Phil

[Patrick Neary]

Get a competent crew (and don't just take their word for it). A crummy AC or gaffer can ruin the experience, and your work.

 

Hope it goes well for you!

[Just Initials]

I know this is going to sound stupid, but don't underlight the sets!

There's nothing worse than thinking you have enough light and it comes out looking like you filmed in a cave.

 

I know a lot of DP's thru filmschool that underexposed their first shortfilms (Including one of mine).

I know that's basic, but you'd be suprised how many either get a bad light reading here and there or just make an incorrect judgement...

 

:huh:

[Dan Salzmann]

I agree with everyone that has posted here and would like to add:

Be aware of the make-up, set dressing and costuming. A DP has to capture these elements and should be aware of all the ingredients and what they imply interms of the DP's intentions and way of working. Be concious of the sound people ahead of time as well. Communicate. The fewer surprises there are to sort out, the more actual shooting time there can be and this is to the benefit of all concerned.

[Bob Hayes]

I could probably list about 200 things to do and not do. Here are a few off the top of my head.

 

1. Regardless of what happens maintain a positive and enthusiastic attitude. It is contagious and if people see you are enjoying the challenge they will too.

 

2. Make sure you get one or two great looking scenes for your reel.

 

3. MAKE SURE YOU HAVE IN YOUR CONTRACT THAT YOU GET A HIGH QUALITY COPY OF THE MOVIE FOR YOUR REEL. I used to go into the telecine and get copies of dalies to build my early reels. Keep in contact with the editor. Know when they are telecining the film. Producers a very afraid that a copy of the film will be circulated and or sold before they sell it. They will often be very very reluctant to let any copies out. It?s funny because they trusted you so completely during production and now once the film is shot they stop trusting you. Also, realize, if you finished your film today it will be two months before it is cut. Another four months until it is sold but not delivered. In short it can take up to a year before you get a useable copy for your reel. Once you get established this delay isn?t so bad because you are already involved on other projects.

 

4. The job of director of photography is controlled by time. Film makers think they are shooting a master piece and take all morning on the first scenes. Then they suddenly realize they are out of time so they rush through the rest of their day. That's called shooting ?Gone with the Wind? in the morning ?Dukes of Hazard? after lunch. You must start your days fast out of the gate. Push like you have to shoot most of your day before lunch. Don?t leave important scenes to the end of the day. If you allow AD?s and UPM?s to control your time clock they will drive you crazy.

 

5. The people will remember you for your first day at work and your last. Leave them with a good impression of who you are. Sometimes the stress of the shoot will explode on the last day.

[David Mullen ASC]

Prepare for the worst, hope for the best. And understand that no matter how well you plan, something will STILL go wrong, so be prepared for that as well. Don't create a shooting plan that is a house of cards.

 

Keep it simple.

 

Don't contribute to the general level of chaos and stress on the set.

 

Understand editing enough to know what shots are needed to tell the scene and allow it to cut if you run out of time.

 

You always run out of time. Don't work such a long day if it screws your turnaround needed for lighting conditions the next day -- i.e. if you need to work when the sun is up, don't end up having call times that get later and later in the day.

 

Hire people who know what they are doing and will back you up.

[F Bulgarelli]

Hi

 

I'm in the process of shooting my first feature and here are some things I've learned.

 

1- Don't let the rush at the end of the day compromise your shot. If your intution tells you it's not right better double check. Otherwise you might regrett it.

 

2-Fight for coverage. Sometimes the director might think he has what he needs until he starts editing and wishes he had that close up and that medium shot. Specially on long dialogue scenes.

 

3-Stick to your vision. I know we are there to bring the directors vision to life but the DP has his own vision too and you have to know what's right as far as the visual aspect of the film.

 

Hope this helps...

[Alvin Pingol]

Don't make any enemies on set. ;)

[Mitch Gross]

DP Robbie Greenberg once told me, "Always sit on the dolly as much as possible." At first I thought he was joking, but I realized that he was completely correct. It is so easy to get fatigued during the course of a shooting day and on a feature it just gets worse with the day in and day out grind. Most first timers get sick sometime in the second week because they burn themselves out during the first. Good luck trying to get you lighting or shot design to match at the end of a long day or a long week if you can barely keep you eyes open and your head up.

 

So sit on the dolly, right next to the camera. If the shot is at a standing height have the seat raised to standing level, but sit down anyway. By sitting there you can see the world from the camera's point of view and you'll become far more aware of what you do and do not actually have captured in the frame. This of course means that you also need a good crew that can execute your lighting without you needing to walk over and explain or interfere. So hire a strong Gaffer, Key Grip and AC.

 

Oh, and become good friends with the Production Designer. You can only photograph what's in front of you, and so much of what people mistake for good photography is really good production design. Design the colors and contrast into the set and costumes and most of your work is already done.

[Greg Gross]

Lesson I learned on my first shoot for($),two week shoot in Sept. and Oct.

of this year. BE AT THE SET,LOCATION EARLY,In my case I was drinking a

cup of coffee and already knew what I would be doing while everybody else

was parking their car and hoping to get a cup of coffee before it was too late.

I do not allow any drinks around the camera, five feet away is okay. I learned

the hard way(only once,there will not be a second time). Best of luck to you,

best regards for happy shooting.

 

Greg Gross,Professional Photographer

Student Cinematographer

[Morgan Peline]

Thanks, some really useful responses!

 

Morgan

[Riku Naskali]

Learn as much as you can about everything even remotely connected to cinematography. I have a background on amateur films where I had to do it all. I think you should be almost competent enough to do any job on the set, but only really competent at what you are doing. If you know enough how everyhing else works, you can communicate really well with other departments and anticipate almost everything.

[Michael Nash]

That reminds me of a joke (apologies to anyone who might be offended):

 

What's the difference between God and a DP?

- God doesn't think he's a DP!

 

Remember you're part of the team, even if you're the head of several departments. You're instrumental in helping the film get made.

[Guest fstop]

DP Robbie Greenberg once told me, "Always sit on the dolly as much as possible."  At first I thought he was joking, but I realized that he was completely correct.  It is so easy to get fatigued during the course of a shooting day and on a feature it just gets worse with the day in and day out grind.  Most first timers get sick sometime in the second week because they burn themselves out during the first.  Good luck trying to get you lighting or shot design to match at the end of a long day or a long week if you can barely keep you eyes open and your head up.

<{POST_SNAPBACK}>

 

 

My admiration for David Watkin can be only a good thing, then ;)

[Stephen Press]

As well as everything else you have to worry about nowadays you also need to think about the safety of your team. Once apon a time you could count on there being someone in charge of crew safety but now as budgets get tighter and the experience level seems to be dropping you will likely be handed a waver to sign and given a list of phone numbers of the local morgue.

That idiot doing burnouts and donuts in the car park? He?s the first time sacrificial producer who will ask you to provide one of your camera assistants to help with the homemade pyrotechnics. Don't do it.

The camera department is your responsibility so watch their backs, give a safety talk, and even if nobody else on the shoot has the first idea how to behave in a safe professional manner look out for them.

Sorry rant over.

[Tim Tyler]

Let the camera roll for a few seconds after the director says "cut" if you think there's still some magic happening in the frame, especially if you're shooting tape.

 

Work harder than anybody else in the crew. Set an example.

 

Thank everybody at the end of the day for the work they've done, and compliment them during the day when they do something that makes a difference.

 

Try to remember and use crew members' first names.

 

Try not to be sarcastic on set, especially early on in the shoot when other crew members might think you're being serious.

 

Consider the sound department when you're setting lights so they can still get a boom in without worring too much about shadows.

 

Don't flirt (too much) with the actors.

 

Try to anticipate the next days shoot, and remind the production department at the end of the day if there's something you think they can do that will speed things up the following day.

 

Take the camera/grip/electric departments out for a beer at the end of the week and buy the first round.

[Matt Pacini]

Sine you're asking the question, I'm going to assume you're working on a low, or ultra-low budget film, so I'll share some of the things I've learned shooting on the cheap.

 

1. Shoot tests first.

If you don't think you can afford to do this, you're wrong, and you're screwed.

It's going to cost more, and you're going to have problems later, if you don't shoot tests, especially if you're inexperienced.

 

2. Don't shoot the opening scene of the film first. (especially if you're intent on ignoring my #1 advice!).

The opening scene is ultra-important, and if there's going to be any "practicing" on film, you want it to be the least important footage of the entire shoot.

 

Expect the worst, hope for the best:

A. Everything is ten times more expensive, and takes five times longer than you will estimate.

Double this if you're an optimistic person, triple them if you're a beginner AND an optimistic person, and quadruple this if you're all of these, AND are under pressure to accomplish the job in record time, for record expense (low, that is).

 

Be ready to compromise, but tell people EXACTLY what they're going to get for the comprimise:

If someone wants you to "just go ahead & shoot it", even if light levels are too low & you're going to have to push the film 2 stops, you need to let them know exactly what that's going to look like.

Don't just say "yes sir" and shoot & go home.

 

And remember the univeral rule:

 

BETTER, FASTER, CHEAPER.

PICK ANY TWO.

 

Matt Pacini

[Laurent Andrieux]

If you are a real DP, I mean you've made your way until that point, well my advice would be :If you are paid, don't accept a too low wedge ! The more you're paid, the more you are respected, the more creative you are ! And when you cost, everybody rekons you're good (if you are...)!

[Morgan Peline]

I have to come out and say that I was just asking out of interest rather than because I was actually shooting my first feature but Laurent I have to say your comment brought a smile to my face! :) When I do start to shoot features, I'll remember what you said!

[David Mullen ASC]

I remember some of the things I went through on my early features. My first was with a friend directing from film school. We were out trying to make deals on equipment, etc. when the line producer told me that some big union operator wanted to work on the film, even though it was deferred pay. "Great," I said. Then she took me aside and said that he really wanted to shoot the film and he could arrange all of this equipment for the production and I should volunteer to step down as DP for the good of the production. I refused, she got pissed off at me. Later, I told the director and he said "it doesn't matter because I wouldn't have made the movie with anyone but you."

 

On my second feature, the line producer told the producers and the director that it was a mistake hiring me because I was too inexperienced, that it was a bad idea to pair a second-time DP with a first-time director, even though I had storyboarded the entire movie, etc. So she convinced everyone that I should take only half my salary because she was going to have to pay more to get a decent gaffer and key grip to back me up. I accepted because I wanted the credit more than cared about the money.

 

After "Twin Falls Idaho" played at Sundance, a new agent at a big agency called me in for an interview, but when I arrived, I was told that the older agents had talked it over and felt that I wasn't going anywhere, that any heat from Sundance for me was already gone, and they weren't interested in me, sorry, have a nice day.

 

So it helps to have a realistic sense of your own worth because you're either going to be insulted or flattered all the time by people in the industry.

[Allen Achterberg]

That reminds me of a joke (apologies to anyone who might be offended):

 

What's the difference between God and a DP?

- God doesn't think he's a DP!

 

Remember you're part of the team, even if you're the head of several departments. You're instrumental in helping the film get made.

<{POST_SNAPBACK}>

 

I got a joke, haha had to at least say it here out of boredome

 

Why shouldnt DP's Smoke? ....because it takes them 3 hours to light it!

 

AHAHAHAHAHAHAHAHAHAHAHA, Thats my favorite so far

[Phil Rhodes]

Hi,

 

David, it's odd that you should mention that, because the only really bad reaction I've ever had was when I was hired to shoot a student project that some producer had decided he wanted to make money out of. They'd replaced all the "big" positions with paid freelancers, meaning the rest of the crew was made up almost entirely of surly, underemployed students who were paying for the course yet not getting any experience.

 

For other reasons, there were big problems with the production and much acrimony afterwards, but it was an education.

 

As far as self-worth goes, I find it's disturbingly easy to find (inexperienced, know-nothing) people to coo and compliment over what you've shot, and it can't possibly be good for the soul!

 

Phil