Another one for the Books

[Nikk Hearn-Sutton SOC]

Well, Its been a long time since I posted anything for awhile and all I can say is that, word is getting around that I have this rig that is getting to a point where I dont have to look for work it finds me,since I'm the only game in town.

 

I just finshed a 14 day feature called HELL-O-WEEN (the working title for now,even though there was a film called that prior) your typical teenage slasher movie. At first when I was brought on this shoot I was scheduled for 3 days but through the modern world of fast and getting the shot in 4 takes or less, I was used 12 out of the 14 days and as McDonald's can say I'M LOVIN IT!! :D I tell ya on this shoot they took full advantage of me, and the shot where BUTTA. Not only was I tracking but I was the Killers POV also (I wonder if I'll get another credit for that) but the best is yet to come. One of the scenes that was written was a tracking of one of the actors from behind as she going through an archway and following her into the main room. When I was looking at the area i had to work with I suggested this, How about I track her from behind then orbit around her clockwise as she turns counterclockwise, to get that disoriented feel to her then pick her up in front as she walks the arch around her to get behind her again. So the director and the DP wanted to know what it would look like so we did a rehearsal and those who where watching the shoot where in complete AWW. The shot lasted for about 2mins and when we did it for real, got it in one breath then a safety. I tell ya it reminded me alot of DRIP (my 1st feature). I just can't wait till the next one now all I have to do is save up for another rig that can handle more and keep my first rig, Alma (after my grandmother R.I.P 1930-2003 who helped me get my 1st rig. Thank You and where ever you are I LOVE YOU.) and attend some workshops and have the field.

 

All in all I feel blessed and thankful that I'm able to do this and be among the few operators that can fly the rig and advance from being a good operator to a great operator but, all that takes time and I have a ways to but I'm having too much fun doing it.

 

Nikk "Flyin the Rig!" Sutton

[Alec Jarnagin SOC]

Nikk,

 

Congratulations on the increased work flow. "Killer's POV?" There is a great bit of video from a German Steadicam workshop in the mid-ninteies with the late, great Ted Churchill talking about POV shots and how a Killer's POV would differ from others'. When I lecture at NYU on camera movement, I always show this clip!

 

Regarding your onset suggestions, be mindful of how you go about them. While I'm a firm believer that we are more than camera mules, proper etiquette is a big one. Shot suggestions that could have a major impact on the DP's lighting (i.e. seeing 360, or the entrance to the arch) should always be whispered into the DP's ear first. Obviously, there are situations where one has a very good, trusted, three way dynamic between the DP and Director and suggestions may flow more easily and louder, but be sure that sabotaging the DP'S visual intent WILL get you NOT asked back.

 

Cheers,

[Marc Abernathy]

great to here nik.. when i lived in cinci production was at a standstill.. the movie "traffic" shot a few days there and that was cool but that was it... glad you got the monopoly!

 

yeah be good friends with the DP and please let them know if you see yourself casting a shadow... sometimes they get to busy loking at light placement and set dressing that you become a last thought until its time to roll and then they say "hmm.. didnt see that shadow there b4..."

 

i just wrapped on a gig last night here where i was a/steadi... they ended up using more steadi instead of the dolly because of the quick setup times i offered.. i was on my feet for about 10 hours straight.. lots of dialouge and some DJ (director thought DJ was a cool way to operate.. DONT ask..).

 

although its hard to get a lot of calls for operating here i do enjoy getting the few i get...

[Nikk Hearn-Sutton SOC]

great to here nik.. when i lived in cinci production was at a standstill.. the movie "traffic" shot a few days there and that was cool but that was it... glad you got the monopoly!

 

yeah be good friends with the DP and please let them know if you see yourself casting a shadow... sometimes they get to busy loking at light placement and set dressing that you become a last thought until its time to roll and then they say "hmm.. didnt see that shadow there b4..."

 

i just wrapped on a gig  last night here where i was a/steadi... they ended up using more steadi  instead of the dolly because of the quick setup times i offered.. i was on my feet for about 10 hours straight.. lots of dialouge and some DJ (director thought DJ was a cool way to operate.. DONT ask..).

 

although its hard to get a lot of calls for operating here i do enjoy getting the few i get...

<{POST_SNAPBACK}>

THE DON JUAN. I can understand why he asked you to do that but, did this guy work with steadi before or was this his first time out.

[Nikk Hearn-Sutton SOC]

Nikk,

 

Congratulations on the increased work flow.  "Killer's POV?"  There is a great bit of video from a German Steadicam workshop in the mid-ninteies with the late, great Ted Churchill talking about POV shots and how a Killer's POV would differ from others'.  When I lecture at NYU on camera movement, I always show this clip!

 

Regarding your onset suggestions, be mindful of how you go about them.  While I'm a firm believer that we are more than camera mules, proper etiquette is a big one.  Shot suggestions that could have a major impact on the DP's lighting (i.e. seeing 360, or the entrance to the arch) should always be whispered into the DP's ear first.  Obviously, there are situations where one has a very good, trusted, three way dynamic between the DP and Director and suggestions may flow more easily and louder, but be sure that sabotaging the DP'S visual intent WILL get you NOT asked back.

 

Cheers,

<{POST_SNAPBACK}>

The DP and I are real good friends and he asked me if I had any suggestions that I would like to do from the get of the production. Besides that he has his own lighting service, 1/2 ton and a full ton trucks. Believe me, I especially kept my eye open to see where I was getting hit, since like you said before, there too busy on looking at the shot itself but GOOD EYE on what you said. I could tell a horror story in the horror story about my 1st AC but I'll wait for another time for that one.

IT WAS BRUTAL!!!! Till then.

 

Nikk

[JobScholtze]

I could tell a horror story in the horror story about my 1st AC but I'll wait for another time for that one.

IT WAS BRUTAL!!!! Till then.

 

Nikk

O MAN, no i am curious, and i hate that. :P

[Nikk Hearn-Sutton SOC]

I could tell a horror story in the horror story about my 1st AC but I'll wait for another time for that one.

IT WAS BRUTAL!!!! Till then.

 

Nikk

O MAN, no i am curious, and i hate that. :P

<{POST_SNAPBACK}>

 

I don't like talking bad about people but, there's a point and time when people just dont get it.

Where do I start. Now I'm not the best operator that knows everything there is to know about it but I do listen and this GUY said he knew alot when he didn't.

He was the DP 1st AC and when I found out that he was going to be my 1st I told him some do's and dont's on the rig and how everything works. He told me that they had one at the school that he went to and he knew about it and everything about it. I mean this guy thought he was hot shit. Little did I know it was the Jr or mini that they had and going from that to my rig (SK2) is a big step.

 

So I was telling him how the rig worked as in physics itself and I could tell he was getting lost in translation, so I started asking him questions on the rig itself and asked him to see if he knew who Garrett Brown was,just to see if he was true to form right. He goes on to think and asked me if he was a local, and I said he was the inventor of steadicam and he goes OH THATS COOL. Let's flash back here for a sec....He said that he knew all there was to know about the rig and you dont know who Garrett Brown is? COME ON!!!!! Anyway I tell him the do's and don't and what I need from him when I'm oping,and how to spot me and when to bring the dock when a shot is being discussed or to rest. I told him all of this the 1st week over and over again and this GUY didnt get it. and the best was when im balancing the rig he would move stuff while Im balancing to get things off that HE didnt want on there. I'm like DUDE WHAT THE FUCK ARE YOU DOING!!!!!!

 

I'm telling him any changes you make is going to change the balanace of the rig either adding or taking off and he didn't get it AT ALL and most importantly DONT TOUCH MY RIG UNLESS YOU TELL ME WHAT YOUR DOING FIRST BEFORE YOU DO IT!!! I mean this guy had no set ettiquiete WHAT SO EVER. Half the time looking for him he wasnt on set even for the DP and I had to carry everything mostly myself on it. What makes it pretty bad the guy runnig sound was better at being my 1st than the first was.Speed and safety is a must!! Either he was to slow and took his time or he was rushing and almost getting himself or someone else on set hurt. He says he's been doing this for 5 years now but I think is more like 1 or less. I could go on about this Gut but I know one thing...If he's on set with me again for any shoot, I'm gonna make sure that he is no where around me what so ever. So job that the shorten story of it all. What a nightmare