Relation DoP-1AC in preproduction

[Ale Capo]

Hi all,

 

I am a student DoP working for my graduation project. My shooting will come soon and since I never worked in a proper crew before (only for little projects), I m wondering what does the DoP share with the 1Ac before the shooting?

What does he discuss? And what type of preparation he makes with the 1ac? (talk about shots, camera settings, etc.)

 

Thanks,

Alessandro

[Dan Hasson]

You'll be taking care of a lot more creative stuff for the camera department (composition, lighting, t or f stops etc).

But your 1st AC should be taking care of most technical aspects of the camera department.

 

So talk to them about ISO, shutter, aperture for different shots. Camera movements so they can prepare for focus pulling.

 

However I've never worked on features (just commercials, shorts and documentaries) so I can't say I've had experience of any feature prep.

 

It really all depends on what your planning on doing. For example, if you are going to be doing a lot of dolly movements on moving subjects, then you'll need to talk to your 1st AC about focus pulling.

 

Hope that helps in some way. You should read this article though - kind of similar to what you might be wanting to know: http://www.theblackandblue.com/2014/01/22/what-camera-assistants-dont-do/

[David Mullen ASC]

You go over the camera package order with the 1st AC to make sure you both have everything you need. You discuss issues like monitoring, video village, and you'll have to discuss workflow, data management, etc. if you aren't hiring a DIT. You go over any special equipment needs, Steadicam, remote head work, anything that can be day-played. Obviously you discuss the camera and lenses. You go over the working and photographic style for the show, how the director wants to work, the logistics, the locations. Some of this discussion involves the UPM or line producer as well. You have to find a happy balance between the equipment package and size and skill of the crew, there is no reason to rent more gear than the crew can handle, and if you need more crew to pull off the shots the director wants, then you have to discuss that with the line producer. You don't want to get into a situation where you have a lot of camera gear to move around a location and not enough people because your 1st AC only has a 2nd AC under them how also has to do downloading, so they disappear for large chunks of time. And if the camera crew is expected to set-up two video villages, one for the director and a separate one for producers, not to mention run picture to the sound department, then there has to be enough people do to that.

 

That's a good article Dan. I particularly like the line that camera assistants don't monitor sound recording.

[Ale Capo]

Great thank you for the accurate details!