When scene 22G, take 3 turns becomes doc footage

[Michael Collier]

I was chatting with a director friend of mine the other day while watching the rough cut of our last project together. In the hours of raw footage there is a take where a hand bag is thrown at an actor, but the bag misses the on screen- intended target- and flies into the groin of a very unluckey PA. Laughter erupts and production halts for a good minute while everyone composes themselves.

 

I commented to the director that you can see in the very instant the actors on camera start laughing, and I hear 'he got hit in the....' I switch from shooting a movie to very clearly shooting behind the scenes footage. I turned to capture the PA doubled over, get in close to get his facial reactions and turn to capture moments from the director and actor laughing and throwing jokes out. It was a very candid moment that will be awsome in the behind the scenes featurette. It didn't waste time, since the actors were laughing uncontrollably, just tape.

 

My question is how common is this, and are operators encouraged to keep shooting and to roam beyond what the setup had planned for them when an event like this happens? I know I haven't seen it on any DVDs yet, but theres something cool about the actual camera turning to capture those moments, instead of cutting to a lower-quality EPK camera. obviously if something like this happens on a film shoot, the cams cut. But if its digital then the cost is much lower to just keep rolling. Whats protocol for this sort of thing? I worked out with that director rights to be able to continue doing that where I see fit in future projects, but when working with new productions and directors, will that sort of thing be frowned upon?

 

(I come from a doc/efp background, so when something like this happens my instinct kicks in. I would have to train myself to roll down the camera if someone were to take offense)

 

and while this thread is started, any funny takes gone wrong stories?

[Adrian Sierkowski]

I don't think there is any "proper," protocol. I would just go with how well you and the director get on and if s/he is ok with that type stuff. One of the S16mm projects I did had similar happenings, where we just rolled the normal camera when things went wrong/haywire. But, again, I would say this is all based along the rapport with the director in question.

[Michael K Bergstrom]

On the last project, when sound was catching a wild track for sound, the 'A' camera rolled on the behind the scenes. If anything, it'll be amusing for the editor to watch.