Brian Baker

A few random things that this thread made me think of: - To get people who are iwlling to work free, go the student orute... especially if you've got one or two expereinced guys to work with a bunch of first timers, or those who are barely expereinced... like when I gaff my friends poop, having the "PAs" run my camlock, but teaching them how to hook up the lines, in what order, and why. - More random: unless you're paying or on a higher-level production, I'd avoid using the term PA, especially as an acronym... most people tend to say it in a very demeaning way; (ie "Can't we just get some PA to do it?") - Maybe its just thep people I shoot with, but we were "taught" never to interfere with the director (and to a certain extent the DPs) creative vision. One person calls the shots, and the rest of us our there to work... your crew should know that; and when you're directing them well and keeping them busy (as James eluded to) they should know that to. - When your working free, the "little" stuff -- fresh coffee with each meal, Red Bulls, decent food, snacks throughout the day, a crew van, etc. -- really goes a long way. - I may be the only G+E who'd be happy eating pizza on set twice a day, every day :) Hope that this helps, BtB

Luke, First, thank you for starting this thread; coming from someone who fell into the electrical department in film school and has taken a strong intrest in cinematography/DPing since then, I've been wrestling with the same decision -- to contrinue lighting sets and getting a good sense of that or pick up a camera and go the more direct route. From my expierences thus far, most of the student DPs I work with focus on the camera, their movement, framing +composition, etc... and have a moe abstract, open approach to lighting. They're the ones to rely on a talented gaffer to actually apply units and technicalities to their projects... a good chance for guys like us to have some fun. But I digress -- most (not all) DPs I've worked with, despite skill level or experience, tend to have a specialty in either department, and a slight handi-cap for the other. Personally, I think if you shoot every chance you get (like operating for ANYTHING) and know how to light, then you're on the right track to DPing; pick-up the finer points of the camera after you have good sense of painting... I also think that having a resource of aspiring DPs who focus more on the camera aspects of cinematography are indespensable; through my friend's advice, I've learned a few camera tricks that I wouldn't have in my electric path. Basically what I'm trying to say is thatt I feel you can take either path toward DPing, as long as you have enough of a knowledge in both to get by. Best of luck, BtB

If you have access to it, I'd suggest Mini KinFlo units... they give a nice little punch (great for eyelight) for a very compact unit. It also comes with an adapter for a car lighter. I've only shot 7222 with B&W -- and have been very happy with the results. Theres a lot of latitude to play around with, which would help for your (presumed) low lighting for the night scene. Best of Luck, BtB

Another party interested in seeing the stills from this project. The technique interests me, and would very much like to see the results. Please let me know if they are posted or you can e-mail -- thanks :)