The Black and Blue

Filmmaking Tips for Camera Assistants

Filmmaking Tips and Advice

Page 7

by | March 24, 2014

The Struggle of No-Pay “Experience” for Filmmakersz

Linda Essig takes a stand against a donut shop company that sent a mass-email looking for film students to shoot a promotional video in exchange for “some good experience” and “a dozen free glazed doughnuts every week for an entire year”:

The email was sent to a long list of faculty members at film programs in the region. I hit reply all with the question “What is your pay rate for these skilled services?”

Predictably, there was no pay-rate – unless you consider a dozen donuts a week for a year payment.

(Side note: why not just take the cost of free donuts and make that the rate? Cost of a dozen donuts is $5 – $8. Assuming the profit is about $3 per dozen, that’s $150 right there. An extraordinarily low rate, of course, but these are students who are looking for experience and it can at least help pay the bills.)

There was no payment because it was a “volunteer/intern opportunity.” That triggered Essig to push further and she replied with US Department of Labor rules of an “internship,” but it fell on deaf ears.

Notably, Essig doesn’t rule out freebies or internships as a viable pathway to gain experience. Instead she’s speaking out against companies using them purely for free labor and not as a partnership in which the gains are less lopsided between the parties.

And so, to bolster that point of positivity, a few days later she wrote a post about saying “yes”:

Just – or even more – important than knowing when to say “no,” is knowing when and how to say “yes.”  Giving builds community; giving builds friendships; giving builds social capital (although one need not think of it in those terms); giving lifts the spirit of both the giver and receiver.  We may give of our time, we may give of our money, we may give of our things, we may give of our talent.  Related to giving is sharing – we may share knowledge, share food, share an experience (good or bad), without any exchange of material goods.

I’m glad she wrote the second post because there are some genuinely good opportunities that unfortunately offer little to no-pay. I started off my career as an AC this way and have built several connections in my network with pro-bono work.

The key is knowing when you’re getting hosed and when it’s an investment in a relationship that could pay off later. That’s something I talk about in my post “Pay Me, Teach Me, or Create with Me” in which I basically say a project has to offer me money, worthwhile experience/networking, and-or creative satisfaction. The interplay between these things drives my decision to accept or reject a job.

Unfortunately, the donut project had no money, didn’t sound that interesting, the learning opportunity seemed limited, and it was a one-time thing with no tangible promise of networking.

by | March 24, 2014

Rental House Technician Does a Reddit AMAz

Working in a rental house has always been pitched to beginners wanting to get into the camera department as a solid entry-way into the biz. The caveat is that you’re giving up some of what makes the film industry attractive – like a freelance schedule, working on set, making movies – in order to get your start. This rental tech, after close to 3 years on the job, agrees:

I’ll be honest, it did change me. I wanted to be a DP for the longest time, and I wanted to work from the bottom up over 20 years. Now, I’m not so sure. It definitely is a place you can get stuck. Remember the people that come in there are ACs already on shows not hiring, and if they need an extra hand, they don’t immediately think of the prep tech from the rental house.

That said, he does get work as an AC:

Lastly, I do get to set fairly often. I usually work as a 1st AC and am pretty well prepared to that affect, have a wireless FF, etc.

The rest of the AMA has great info on how consigned gear works, what cameras go out most often, and how camera assistants can work better with the rental house staff. Being a rental tech isn’t the most glamorous position, but it provides a stepping stone for a lot of people and they can be an AC’s best friend in a pinch.

by | March 22, 2014

The Focus Pulling Challenges of American Hustlez

Speaking of pulling focus, I watched American Hustle the other night and couldn’t help but pay close attention to the focus since it’s something others kept bringing up in discussions about the movie across the web. In fact, the film’s focus puller, 1st AC Gregory Irwin, offered an explanation for the focus issues in one such discussion thread at Cinematography.com:

You’re right!  Much of the movie had focus issues.  The cinematographer insisted upon using old Canon K35 lenses for their 1970’s look, the time period that the movie takes place. Unfortunately, the K35’s have 1970’s technology as well.  Since AMERICAN HUSTLE was shot entirely on steadicam, the use of Preston FIZ remote focus units were necessary.  Since the K35 lenses have a compressed focus scale and are known for “loss of motion,” they could neither respond to the Preston transmitter commands nor return to a prescribed focus mark.  There wasn’t much chance for success in the focus department with these lenses.  About half way through the shoot and against the cinematographer’s wishes, the First AC insisted on switching the Canon K35 lenses for the Zeiss Hi Speed lenses which were made for cinematic use.  After the switch, the focus issues were eliminated and the integrity of a period look was mantained.

Without this knowledge, you might assume the focus issues were related to such a loose shooting style – constant camera movement on Steadicam without rehearsals. Irwin himself confirmed that’s how director David O’Russel likes to work, saying, “David does not rehearse, there are no marks and we haven’t a clue to what’s going to happen during a take till after we have shot it.”

But Irwin refutes that the style of shooting played any role in the sometimes buzzy focus:

It’s interesting to note that Geoff (“A” camera and Steadicam operator) and I are very accustom to no rehearsals or no blocking of a shot.  In fact, we kind of enjoy that challenge.  We had a tremendous success with David’s THE FIGHTER which was shot in the same fashion.  The movie is in frame and completely in focus.  The difference was that we did not use the Canon K35 lenses.  We shot with Zeiss Master Primes at a T1.3 and it looked fantastic!  Hoyte van Hoytema was the cinematographer on THE FIGHTER where as Linus Sangren was the cinematographer on AMERICAN HUSTLE.  His choice of employing the Canon K35s was fatal to our success when referring to the focus pulling challenges. Those lenses simply could not perform to the level we required.  Thankfully, after we changed lenses to the Zeiss High Speeds, our focus issues were put behind us.  I only wish we had made the change earlier in the shooting schedule.

Overall it’s an extremely interesting thread to read from a camera assistant’s perspective.

The 500th Post on The Black and Blue

by | Website | March 22, 2014 | Comments: 1

After a little more than four years, The Black and Blue has published its 500th post – the one you’re reading right now. It’s a big milestone for this tiny website. I’ve written about everything from RED cameras to water bottles to being a tape measure ninja and now it’s time to celebrate the variety of filmmaking topics that we’ve discussed here. And maybe share $500 with some future filmmakers…

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by | March 21, 2014

Focus Pulling: “It’s a mystical art.”z

NPR, as part of its series on Hollywood jobs, wrote a couple brief articles on camera assisting – one on pulling focus and the other on slating. While those two tasks don’t cover nearly everything camera assistants (ACs) do, they are easily the most visible and accessible duties for an AC.

The article about pulling focus highlights first AC Larry Nielsen as he readies a crane shot:

“She’s starting at about 16 feet,” he explains. “She’s gonna walk towards the camera, and we’re gonna catch her at about 9 feet, and the camera’s gonna swoop around and get as close as about 5 1/2 feet. It’s my job to make sure she’s in focus, frame for frame, 24 frames a second.”

It’s like a slow-motion mental exercise before the real thing begins.

Once the director calls “action,” there are only two people walking as the scene is being shot — Banks and focus puller Nielsen, coordinating the changing camera distances with his remote. Walk of Shame director Steven Brill says he’s depends 100 percent on his first assistant cameraman to keep the scenes in focus.

“If they are not sharp and in focus,” he says, “the film isn’t usable, and we cannot go forward.”

Even Director of Photography Jonathan Brown is in awe.

“It’s a mystical art,” he says.

And the second article about slating also features Nielsen introducing the idea of a slate:

“Miki’s hitting the sticks on this one,” says assistant cameraman Larry Nielsen, pointing to his assistant.

Take after take, day after day, some Miki or other on a movie set “hits the sticks” — to synchronize the sound with the pictures. In the silent-film days, it wasn’t an issue. But once movies started talking, they needed to figure out how to make the lips and the spoken words move at the same time – because the sound is recorded separately.

So someone thought to take two rectangular pieces of wood, hinge them together and then snap them shut in front of the camera before the action began. Later, the sight of the clapper and its distinctive sound on the audio recording could be lined up perfectly.

Both short pieces, but still nice to see camera assistants like Larry and Miki have a chance to talk about their craft and be featured in NPR.

Also, be sure to check out this series on how to pull focus and this one on slating.

by | March 21, 2014

The Size of a Hollywood Film Crewz

Exactly how big is a Hollywood film crew? Producer Stephen Follows proposed a similar question to some students in Malaysia he was training to be production assistants:

In order to give the students a sense of the scale of these productions I asked them to guess how many people worked on the movie ‘Avatar’. Guesses ranged from a few hundred up to a thousand. The actual figure (according to IMDb) is 2,984.

This got me thinking about what the number of crew members could tell us about a production.

The figures Follows comes up with are interesting (though include caveats such as IMDB’s dependency on self-reporting) and reiterate that crews are like one giant organism slowly lurching towards a creative goal. Like organisms have organs, there are different departments that each have their own role and Follows manages to break down each department’s numbers as well.

Because of how IMDB is setup, the camera department is lumped together with grips and electrics under the heading of “Camera and Electrical.” So the top three films between 1994 and 2013 with the biggest “Camera and Electrical” crews were Now You See Me (334), Iron Man 3 (260), and Titanic (230). Looking at those movies’ credits on IMDB, a lot of this is due to the fact that crew were sourced as locals from several locations and their shoots also demanded additional units for stunts, VFX, etc.

But even when accounting for IMDB’s misgivings and a healthy margin of error, Follows’ breakdown gives you a real sense of the scale Hollywood films operate at.

by | March 20, 2014

27 Ways Talent Can Avoid Looking Like Assholesz

Actor Callam Rodya shares 27 tips for those in front of the camera to avoid being labeled as divas:

Don’t get me wrong, acting is extremely difficult (especially when you try to do it well), and it’s important to respect that. But when you look around at everyone else on set, you have to admit, we’ve got a pretty good gig most of the time.

Here are some of my favorite lines from Callam’s list:

3. Some actors like to hang out on set even when it’s not their scene to shoot. That’s okay, but stay the fuck out of everyone’s way.

7. Hit your marks like a precision airstrike. You’re just wasting a take if you and that focus point the camera assistant marked aren’t going to align.

18. If you’re one of those “method” or “internal” types, stay in your trailer until you’re called on set. If you can’t do that, don’t snap at the friendly boom op for “pulling you out of your zone” because he asked you if you’ve seen the “Breaking Bad” finale.

In general, I’ve had good experiences with actors and actresses. There’s been a few moments where they’ve come across as jerks, but then again, I’m sure the same could be said about me – it can happen when you work 12-hours in a pressure cooker.

I do have a bone to pick, however, with Callum’s assumption that crew automatically resent talent for their later call times or for relaxing on set or having it “easy.” Most crew understand it’s just a different gig. It has its own perks and also requires skills (and artistry) many crew don’t have.

The only time I can think of crew resenting talent is when they take these perks too far and hinder the work crew are trying do by showing up late, constantly messing up lines, or not taking things seriously. But that’s a feeling crew have towards anyone on set regardless if they’re below-the-line, above-the-line, in front of, or behind the camera – we just want everyone to work hard, be professional, and do great work.

A Springtime Upgrade for The Black and Blue

by | Website | March 20, 2014 | Comments: 8

Almost six months ago, The Black and Blue was completely redesigned with the launch of version 4.0, codename “Delta.” It was the biggest update in the history of the site. Today, another big update (version 4.1) launches that helps refine the design further, adds the ability to post more frequent updates, and hopefully makes for a better experience when you stop by. Let me tell you more…

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