If You’ve Got a Problem, You Need Time

If You've Got a Problem, You Need TimeCreative Commons License photo credit: CarbonNYC

It’s your worst nightmare on set: you’re about to roll camera when suddenly it shuts off.

You press the power button, you check the cables, and you even try cursing at the thing, but nothing is working. Before you know it, you’re desperate – mashing all the buttons on the side, blowing in crevasses like it’s a nintendo cartridge, and even petting the thing to make it purr, but no dice.

You look towards the sky and the sun is setting and that magic hour is quickly condensing into a magic 10 minute deadline.

So what do you do?

You need to ask for time to address the problem.

The first thing you should do is inform the assistant director that you need time.

If you’re lucky, they can shift some things around and buy you a few minutes which will help you approach the problem in a more methodical way.

Even if there is no time, you need to ask for it.

What this does is create an expectation that there will be lost time — because there probably will be. If you ask for a minute and are told “we don’t have that minute!” at least now you’ve informed someone that, well, it’s just not going to be fixed now.

And with that sobering news, they can start executing their backup plan.

And you can start working your magic.

About the author:

About the author: Evan Luzi is the editor and founder of The Black and Blue as well as a freelance camera assistant.

You can learn more about him or follow him on Twitter and Google+.

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  • HumanGobo

    you curse the name of Jim Jannard loudly ;)

  • http://www.theblackandblue.com/ Evan

    “O Jim, why have ye forsaken me?”

    “Who is this that obscures my plans with words without knowledge?!”

    Reference: http://www.biblegateway.com/passage/?search=Job+38-42&version=NIV

  • Rich

    HA! OH have I cursed Jim Jannard so very much.

  • Alan Certeza

    I have been in many situations with this. One on last week’s shoot. I was working with the Bartech. The motor started twitching, so I pulled it out and turned off the unit to recalibrate, the DP just looked up at me and said “Uh, the camera just shut off.” AD called it out on set, “Alright lets roll sound” and then I immediately told him, “Camera is going to need a minute for technique issues, 60secs to troubleshoot” Of course he didn’t like it but I made it up in time by sneaking focus marks during blocking. :)

    I have been drawn to say now to my DP, “Just another RED DIVA moment.”

  • AR

    Haha I like how Evan never mentioned a specific camera in his post, but yet it still became a dump-on-RED-athon in the comments. 

    Hotswap plates (or suicide plates) are a godsend on fast-paced shoots. If you’re working on RED enough, it’s almost worth picking one up to make sure you have one when you need it. 

  • http://www.theblackandblue.com/ Evan

    JJ has all had his way with each of us

  • http://www.theblackandblue.com/ Evan

    “Haha I like how Evan never mentioned a specific camera in his post, but yet it still became a dump-on-RED-athon in the comments. “ 

    Just wait until you see some of the posts I am working on right now…As for hotswaps — that’s one of those things where the time it saves adds up quickly throughout the day. Smart producers understand that and don’t mind spending the extra money.

  • http://www.theblackandblue.com/ Evan

    Haha that’s a great tagline Alan! It always helps if your AD and DP understands the quirkiness of RED. Then they’re usually on your side :)

  • aemi07

    oh I though it only happens to me :)

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  • Benjamin_Tubb

    I find estimating required time to do things is one of the most challenging parts of the job.  Especially when gaffing or DPing, and I have to estimate lighting time.  That’s just straight up difficult.

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