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Filmmaking Tips and Advice

Gordon Willis, ASC on Hiring His Camera Departmentz

In an interview with American Cinematographer originally published five years ago:

I probably look for the same qualities everyone else looks for when they hire people. I generally look for someone who’s both pleasant and technically astute. For example, if I’m hiring a camera operator, he has to be able to fulfill his primary function, but I also want that person to be able to help the assistant get everything put together properly, anticipate any problems that might arise, and so on. I don’t want a situation where he’s operating one moment and making phone calls the next. The operator has to be intelligent and able to relate well to actors. I feel most comfortable with someone who’s smart, specific and easy to deal with. It’s the same with the assistant cameraman — who, I think, has one of the most difficult jobs on the set.

Being technically competent is an obvious prerequisite for the camera department and everyone wants to work with someone who’s smart, but being “pleasant” and “easy to deal with” are two underrated qualities that make those above-the-line more likely to hire you for the next job.

The rest of the interview is well-worth reading for more of the late cinematographer’s pragmatic wisdom and sarcastic cynicism: “…that’s the nature of the business: It’s okay to approve an extra 20 feet for the star’s trailer, but if you need one more grip for a day, you can forget it!”

Assassinaut Day 11: What Would You Do for a Kuni Buck?

Assassinaut Day 11: What Would You Do for a Kuni Buck?

by Evan LuziProduction Stories

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Today was payday on day 11 of Assassinaut and while all of us received checks or deposits, some lucky crew received some bonus payments in the form of a fresh currency known as “Kuni Bucks”

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Assassinaut Day 10 Behind the Scenes

Assassinaut Day 10: Tips for Working in the Rain

by Evan LuziMiscellaneous Tips

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We swapped the heat on our backs for water from the trees as the sun disappeared behind the canopy of the forest and the rain clouds drifting above. Day 10 of Assassinaut was rocky and wet and rain was on my mind as I tried to keep it off the camera.

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Assassinaut Day 9

Assassinaut Day 9: A Relaxing Day at the Beach

by Evan LuziProduction Stories

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The drive down to our motel for week 2 of Assassinaut brought mixed emotions as I passed my college and thought about how I used to dream about a career in film. And day 9 proved how fruitful those dreams could be.

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Assassinaut Day 8: Ending the Week with a Bang

Assassinaut Day 8: Ending the Week with a Bang

by Evan LuziProduction Stories

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Safety is of great concern on day 8 of Assassinaut when we whip out the prop guns for firing some blanks and airsoft BB’s on a short day that takes us to the end of week number two.

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Assassinaut Day 7: Treacherous Waters

by Evan LuziProduction Stories

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Never underestimate moving water and never underestimate film production. In both cases, what looks easy can be deceptively tough. Day 7 of Assassinaut was a lesson in how little things on a set can add up to make one day feel like an eternity.

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Assassinaut Day 6

Assassinaut Day 6: A Turning Point

by Evan LuziBehind the Lens

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Today on Day 6 we filmed a pivotal scene in Assassinaut that pushes me to consider how you know if a movie is going to be worth watching. For now, the best I can do is keep things in focus and hope what’s good in front of the camera ends up good in front of the audience.

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Assassinaut Day 5: Camera Goes Handheld Into the Woods

by Evan LuziCamera Assisting

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We braved ticks, spiders, tall-grass, rain, and mud on day 5 of Assassinaut. The camera spent most of the day rigged for handheld shots which has its pros and cons for me, the camera assistant.

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Assassinaut Movie Day 4 Behind the Scenes

Assassinaut Day 4: When It Rains, It Floods, But We Keep Filming

by Evan LuziProduction Stories

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Not everyday on a film set is easy or fun – sometimes you have to earn your paycheck. Day 4 of the sci-fi feature film Assassinaut was one of those days where you keep filming and keep grinding until you have your shots in the can, even through all the curveballs thrown your way.

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Do You Think I Should Avoid Running On Set?

The Best Guide You’ll Ever Read for On-Set Etiquettez

Brandon Tonner-Connolly with Alicia van Couvering write excellently about “The Seven Arts of Working in Film: A Necessary Guide to On-Set Protocol.” The seven arts being:

  1. Presentation
  2. Department
  3. Asking Questions
  4. Following Through
  5. The Next Step
  6. Common Sense
  7. Being a Hero

Imagine that you are in a dark cave with a group of people, and all of you are running around in different directions. In a corner of the cave is a flashlight, which is spinning through the room.

Suddenly, the flashlight lands on a single person. Everyone stops. Until that person does his or her job, no one can move forward.

At some point during the shooting day, that flashlight will land on you. Everyone will be looking at you and waiting for you to do your job, or the production will stop moving. That flashlight can feel like a warm spotlight or it can feel like the high beams of a speeding car, fixing you in its headlights, determined to mow you down. It all depends on how well you understand your job and the jobs of others around you.

This is one of the best guides to setiquette (set etiquette) I’ve ever read, so if you feel you’re still a little green on set, drop what you’re doing, read it, and savor every word.

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Becoming the Reel Deal eBook Cover on iPad

It Only Takes One Gig.

Becoming the Reel Deal is a free downloadable eBook written to help you get your first job on set in the camera department so you can launch your film career.

Sign up now to get your free copy and exclusive tips from The Black and Blue.

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