Rookie Mistakes

[Eric Fletcher S.O.C.]

Michael Let me go one further,

 

Claiming that you are in the Union and then 2 weeks into a Union show that is on location being found out that you are not in the union and getting sacked.

 

That happened to someone that should know better just a few months ago.

[David George Ellis]

Not adding anything new but, not going to the camera prep. Especially if you never worked with the camera b/4. I had an experience with the G2. I disregarded the warnings to be heeded by my fellow seasoned ops when I was starting out about "flying" this monster and ended up eating crow followed by a pity cheeseburger for my efforts. The DP was very understanding (to my face at least), and I have been too embarrased to send him my reel even two years later.

 

Another big mistake is doing any frantic fighting shots without a matte box and being able to cope with the consequences of injuring someone. The last show I did had four incidents involving Steadicam and uneven terrain (mud hills and sand), and a 6mm lens. I ate the mud hill, snapped a Hi 8 camera from its 35 adaptor and bruised my forearm nicely. Thankfully the PM was gorgeous, she treated me and sealed the boo-boo with a kiss (thanks, Nurse Christina).

 

Two days later, we had a fight sequence w/out a stunt coordinator nor fight coreographer and I literally took a fitness model's tooth out. The sound of someone's face running into a lens is brutal crunching one. Imagine a hammer breaking tile, then oxidated DNA dripping on my monitor. Needless to say, I broke down in tears over that, but everyone at Vid Village saw him coming in too hard and too close. I think the shot will make the movie, so it was worth it I guess.

 

As for the model, there were no hard feelings and he shook my hand, bloody chicklet and all. And from there all the beefcakes had a new sense of respect for me, the rig and the spacial boundaries that are needed to be set.

[Michael Stumpf]

not going to the camera prep. Especially if you never worked with the camera b/4.

 

 

That's only really necessary if you were not an AC before becoming an operator and don't know

the cameras or the accessories (as you stated above).

Being an AC before being an operator is an absolutely invaluable thing, as well as having

a good AC working with you.

When I was an AC I often disliked working with operators who weren't AC's prior, they always had

the toughest times dealing with technical issues with all the cameras. And they don't fully understand

the AC's job and are more apt to "bone" the AC at a critical moment.

 

It's the same story with DP's who were Gaffers first and never operated.

AC's and experienced operators always know when a DP wasn't either an AC nor an operator.

Watching them fumble around with the cameras (even lowering the eyepiece or trying to turn on the "glow")

is always good for a laugh.

[Charles Papert]

Actually Michael, I've seen and heard of plenty of examples of assistants who move up to operator being either really hard on the assistants or micro-managing them into oblivion. Of course all of this depends on the individual's personality.

[Michael Stumpf]

Actually Michael, I've seen and heard of plenty of examples of assistants who move up to operator being either really hard on the assistants or micro-managing them into oblivion. Of course all of this depends on the individual's personality.

 

 

This is true too and another good point.

For those experienced AC's who are moving up, or have

recently moved up it's often hard

to "let go" of your prior position and micromanaging.

That also should be avoided if possible.

[David George Ellis]

You're right, Michael. I never was an AC before but I never stated it above. Good deduction. There's a first for everybody and I don't piss myself when I encounter an AC who's never pulled for Steadicam. I just become more aware of them and help guide them to save face. I go to preps to make sure we have all the proper AKS and my cables mate correctly. Didn't someone have a problem with a Panavised Moviecam once, or twice? Going to the prep could help you overcome those obstacles so that on the day, you don't say, "Crap, I Should of..."

 

BTW: What are the prerequisites of being an AC? Camera PA? PA? Intern? Film School? Born with silver spoon? Never did any of those, either.

 

It also develops the warm and fuzzy b/t you, the DP and the AC. Me being a newbie, I can use all the warmth and fuzziness I can get reading a new crew that I'll be a part of. That's the social being in me. I'm almost curious as to what works for you, Michael. I may have boned an AC in the past, but who hasn't? Who hasn't been boned by the AC? Or the spotter, or lights, or that beer bottle Art Dept. never swept from set? I'm sure you get the gist.

 

To laugh at a DP instead of help calm him and finish the day?

 

My first 1st AC was Doug Hart. Author of the Assistant Cameraman's Handbook. He didn't laugh while I fumbled. He showed class. He helped me. Even taught me the Sea Breeze Bandana.

 

Issues come up. Build a bridge and get over it.

 

Maybe some guys need to go back and give back by teaching to remember what it's like to know nothing all over again.

 

Back to topic...

 

Here's something to look out for. People in this community and world for that matter, yearn to find ways to pick you apart. They smile nice nice to your face while passively/aggressively attempting to discourage you from advancing yourself and elevating your career. I've had two occasions so far where I've met operators who've made remarks like, "Everybody has a rig these days", or "Why would you want to move here to LA?" These jag-offs are either scared about food being taken off their plate, or are just so cavalier, they don't remember Ramen Noodle & Tuna Night, if they were ever even poor enough for that.

 

Instead of closing tabs at the bar, they're keeping tabs on the net. They lie in the trenches of upper suburbia, playing cyber/phone thug cuz life's too ordinary now. You may know this guy. Watch out for that guy. Don't let him jade you under dark clouds of conventionalism. You may be that guy. STOP BEING THAT GUY! There is a new breed of us looking up to you as inspirations for the future of filmmaking. By being divisive, you cannibalize our industry. Look at the Operator position. If you're of true heart and passion, you may learn something from mentoring those seeking purposeful advice.

 

My father was an educator of languages for nearly 40 years. He died while waiting to meet with one of his former students that turned teacher.

 

What if Garrett Brown decided to take the secrets of Steadicam to the grave and never reveal them to the world? Where would you, THAT GUY, be?

 

What if teachers discouraged kids from becoming teachers. Who would teach us?

 

We're all full of energy. Let's collectively channel it where it needs channelling. Upholding and defending the Charters of Freedom and making movie-making fun. Amendment #2 is for you, BJ. Come to think of it, so is #4. Thanks for letting me rant this space.

 

David

[kip ross]

Hi David,

 

Thanks for this entry. The dynamics of the naysayer and passive aggressive mind out there in the working world often dehumidify the fun spirit of a project.

 

Humility at a fundamental and oft practiced level isn't always abundant. Your entry was insightful and candid

 

Thanks!

 

Kip Ross

Newbie to be

 

 

What if Garrett Brown decided to take the secrets of Steadicam to the grave and never reveal them to the world? Where would you, THAT GUY, be?

 

What if teachers discouraged kids from becoming teachers. Who would teach us?

 

We're all full of energy. Let's collectively channel it where it needs channelling. Upholding and defending the Charters of Freedom and making movie-making fun. Amendment #2 is for you, BJ. Come to think of it, so is #4. Thanks for letting me rant this space.

 

David

[mattmarek]

not going to the camera prep. Especially if you never worked with the camera b/4.

 

 

 

AC's and experienced operators always know when a DP wasn't either an AC nor an operator.

Watching them fumble around with the cameras (even lowering the eyepiece or trying to turn on the "glow")

is always good for a laugh.

 

 

 

i find it pompous that you would laugh at a dp for 'fumbling' to turn on the glow, rather than just be chill about it and help out. a lot of dp's dont operate and are certainly not up to date on the cameras out there right now. the dp's job is to light...not to understand a certain camera model inside and out.

 

your idea that an operator should be an assistant first is fine when it comes down to the technical...but a good operator needs to understand composition, movement, timing... and there's some people that just dont get it. same with steadicam. a good assistant does not make for a good steadicam operator. i've seen lots of bad steadicam on tv...from older guys that went through the assistant route....but yeah, they knew how to turn on the glow and lower the eyepiece. :unsure:

[Eric Fletcher S.O.C.]

i find it pompous that you would laugh at a dp for 'fumbling' to turn on the glow, rather than just be chill about it and help out. a lot of dp's dont operate and are certainly not up to date on the cameras out there right now. the dp's job is to light...not to understand a certain camera model inside and out.

 

your idea that an operator should be an assistant first is fine when it comes down to the technical...but a good operator needs to understand composition, movement, timing... and there's some people that just dont get it. same with steadicam. a good assistant does not make for a good steadicam operator. i've seen lots of bad steadicam on tv...from older guys that went through the assistant route....but yeah, they knew how to turn on the glow and lower the eyepiece. :unsure:

 

 

Actually Matt I will, do and would laugh at a DP that doesn't understand the gear. How can they fully utilize the capabilities of the gear if they don't know it.

 

I'm curious what your background is? How did you come up the Ranks? Myself? I did it the old fashioned way, loader, 2nd, 1st, and then Operator

[mattmarek]

eric,

do you laugh at the dp that knows all the gear and cant utilize it within the parameters of the directors vision?

 

i've worked with dop's that knew next to nothing about the millenium xl, but they could light very well and tell a story. they knew what a steadicam could/couldnt do. what a crane could/couldnt do. they knew about ramping, and shutter angles, pushing/pulling film etc etc. but yeah, couldnt find the 'panaglow' .... you gonna have a laugh?

 

how did i come 'up the ranks'? well i wouldnt say i came up any ranks or that i'm at any rank. i'm more interested in directing and documentary. but where i'm at now, camera operating and steadicam pay some bills. i'm non union. been steadicam'ing for 5 years.(trained under bob crone in vancouver then did the garret brown course in philly) i'm not at the level that you or michael are at, but i think i do what i do well. i've operated 2 35mm features...were they 80 million dollar hollywood shoots? no. before that i volunteered as whatever i could in the camera dept's and did some real limited focus pulling on indie sets. i also have a background in photography.

 

as a result of my method, i'm retarded when it comes to technicaly knowing some of the cameras inside and out(thankfuly i work with great 1sts that do), but i'm doing what i want to do and am happy. i just fail to see why many members of camera dept's need to have an attitude.