Was I being abused?

[David George Ellis]

Elliot,

 

Here's my call and response:

 

*When I arrived on set, I introduced myself to the DP, I told him my name and he told me to call him "boss!"

 

Some people like to have names b/c they feel comfrotable being called that. What if his real name was Dipshit? You don't want to be called "Dipshit" all day on set.

 

*Seriously, I still don't know his name.

 

It's probably better that way...

 

*I was flying an ARRI 435 with my EFP, a fairly heavy rig, for 6 hours straight. I put the rig on at 2:45 and did not take it off until 8:45!

 

Music Videos. Expect it. Live for it. Love it. You get respect from your Grip/Electrics, and they're hard to impress. Besides, Grip/Electrics are potential DPs who'll remember your tenacity.

 

*"Boss" kept saying, "just stand here and be a tripod" or "I need you to be a dolly for this shot, very slow and perfectly smooth." He changed lenses almost every take and never let me rebalance. He even at one point had me do a walk and talk with a 135mm lens.

 

Music Video DPs. Prepare them. Console them. Love them. PROS: They will put you through some of the most challenging experiences under the strictest time constraints. CONS: They will put you through some of the most challenging experiences under the strictest time constraints. Treat them with RESPECT continuously, regardless of how you are treated, and save them from mistakes. He doesn't know you yet. He's gonna rub you. It may be the wrong way. But if you adapt and get the shots, deep down you will be the hero despite how they recognize you.

 

*I actually pulled it off fairly well, but it was still pretty ridiculous.

 

Nice. Don't get cocky.

 

*The first AC had never used a wireless follow focus before, but was still a pompous jerk the whole time.

 

Yeah, and I bet he wished he was the Steadicam Op or DP, too. So he wouldn't have to take anybody's shit. ACs who don't know gear can sometimes get job-scared. They are supposed to know everything camera. If they don't, they worry that somebody you know or the DP knows (if that DP didn't know the AC directly), knew their job better and he/she only got the job b/c they were available, not b/c they know anything. Was he alone? Was his 2nd really green? Was he getting paid well? Was he getting the same treatment by the DP? Accept the AC into your bosom. Sometimes ACs need hugs. Hug your AC. You'll see their attitude change. It may help them not become "Dipshit" DPs. At least not to you.

 

*It even got to the point were the DP, instead of telling me how he wanted the shot framed and discussing the move with me like a human being, would just grab the rig and pull me to where ever he wanted me to be!

 

Sometimes DPs need hugs, too. They invade your space, invade theirs. If you don't care to have them touch you, tell them. It takes a few tries, but it works. I invested in a protable tv and put it in the DP's hands. They're too busy holding the tv to hold you.

 

*This just felt like abuse to me.

 

The film business is abuse. Followed by neglect, which is a form of abuse.

 

*I don't really know my rights on set. I am not in the union yet and I have only been operating for six months so I am trying to develop a good reputation.

 

Since there's no constitution for the non-union world, it's based loosely on the Union guidelines. Everything is up to interpretation here. There's the three rules you probably already know:

 

1. Don't suck

 

2. Have a great attitude

 

3. Don't suck

 

*The only positive was that they paid me a great rate upfront.I actually showed up 30 min. early and cashed the check before crew call just to make sure it was good. (these guys are notorious for not paying).

 

That should have been your first of a trouble shoot, so get yo-self ready for the abuse.

 

*What can I do to protect myself from this kind of abuse? Is this normal? How do I assert myself and maintain my integrity on set?

 

1. Stay calm, like Job says. Nobody likes to see a Steadicam Op who is unsettled. It creates a nervous baby.

 

2. Take control of the set. In the laws of possesion, "He who has camera, has power."

 

3. If you need time, tell them. As Ramon mentioned, explain to the AD or DP that if you don't get the time to balance your rig or take a break, the next shot will be compromised and you will have to do it again and waste time/film/tape. And that doesn't guarantee it will be better the next time. Thus wasting more time/film/tape. Only you can stop the vicious cycle and regroup. Remember, you have camera. You have power. No one can do what you do on set. The worst that can happen is they take it off Steadicam and cover it another way. And that takes more time.

 

4. Use your judgement when getting into discussions with stubborn DPs. You don't want to walk off. They don't want you to walk off, either, I think. There was a job I heard of recently where the Dir and DP didn't want to pay the Steadi Op his rate and instigated him to the point where he talked himself into getting fired. They eventually got someone for less and is not as good.

 

*What would you guys have done?

 

Win the hearts of all those watching

 

ONE,

 

David

[Brandon Thompson]

I have to admit that I was suprised to see so many ops on professional sets having to deal with people grabbing their rig. I think some of these people have some balls grabing an operators rig. Its like they don't know that your rig w/ accesories is more expensive than the camera. Maybe "do not touch" stickers are needed?

[Brant S. Fagan SOC]

Gents--

 

Sounds like a small man with small man issues.

 

I state my case right up front and let them know what I expect of them.

 

When they grab MY rig, I respond with a smile and state that it costs more if they operate when I am wearing the rig.

 

If things get out of hand in terms of disrespect, I reply with something like "Let's go to work," and walk away from them. I have had a few "big time" DPs treat me this way over the years. Take the high road and leave them in the dust so they look like fools. Be classy and do it with a straight face. It makes them crazy and leaves no room for more abuse.

 

Just remember who is "in charge" and treat them like you should be treated; the rest of the crew will see this for what it is.

 

Don't take the crap without a killer rental on the muck boots and keep smiling! It makes them mad.

 

Best,

 

Brant S. Fagan, SOC

Steadicam®/Camera Operator

[Jeff Muhlstock SOC]

You lost me at "Hip Hop music video..."

 

Never had a good experience in this world, its on the, "No thank you" list. Its a total, no win situation. I would rather work for free with nice people. You are in control of your own destiny, respect yourself and dont ever let people miss treat you! It sounds like you took the high road on this one, now just avoid it in the future.

 

Jeff

[Alfeo Dixon SOC]

Just needed to chime in on this one. Ramon... whats up.

 

DP was Chris Probes... don't know him.

AC was Jamie Bussant (Little brother to Bliss the DP) whom I know as a 2nd and seemed to be a good guy. Never worked with him.

 

Directors (two of them 'cats' for those in the ATL) very experienced and should know how to communicate their needs.

 

Couple of things, I too had a director that attempted to grab the rig... hands on get a slight push on the gimble to 'help' their adjustment. ;) then a polite sorry but it works best if you direct me hands off (get it... direct me!)

 

Balance on the fly if you have to... tell the AD and AC that you have to if they want to make it a good take... this will avoid the balancing off the dock. This you shouldn't have too many issues with since its mostly a fore/aft adjustment.

 

As to the Boss thing... maybe try to be a little clever and give your self a nickname. Try "I'll call you Boss if you'll call me Ass... OK Boss?" (that actually may get you fired, but WILL get the point across)

 

Did they even put a dolly on the package? If so a hard mount when the want the 'steadipod shots' will give you great shoots, a needed break and still nice movement if you dare to give them more... and no tracks needs for the dolly grip to give slight movement too.

 

David George nailed a lot of good points... mostly about their own insecurities.

 

OH! That same director that wanted to grab the rig... also asked me to "pan down, down, down, down... there!" I replied "You mean tilt down and start the shot off the pavement" (end of the day and after my third time telling him if he tells me what he wants, I will deliver it.)

 

-Alfeo "hands off" Dixon

[BJMcDonnell SOC]

As for saying the two directors called "Cats", do you mean "the Fat Cats"? I worked with them two years ago. Am I referring to the two same guys?

 

BJ McDonnell

[GEORGEBIANCHINI]

Ok! I could not resist! I have to chime in as well. I am totally shocked by what I have been reading. I have known and worked with Chris Probst for years. He is a total gentleman and one of the nicest & talented DP's in music videos. I have known Jaime Bussant for years as well and have watched him move up the ranks of the camera department...Jaime as ALWAYS been an easy going all around nice guy. I have known Bliss for years..when he trained his brother to be an AC..he would never tolerate any disrespect from anyone in his camera department. I am in total shock over this. I do not believe Chris said to call you, "Boss"..if he did..I assure you he was joking. That guy is one of the nicest DP's..he never yells or gets upset..Did I mention again..that I am totally shocked!!!

As a an operator who has done Hundreds of music videos of all types I find this experience outrageous and unbelievable. Are we sure we got the names right???

with respect and no tone implied

george bianchini

[Alfeo Dixon SOC]

Ok! I could not resist! I have to chime in as well. I am totally shocked by what I have been reading. I have known and worked with Chris Probst for years. He is a total gentleman and one of the nicest & talented DP's in music videos. I have known Jaime Bussant for years as well and have watched him move up the ranks of the camera department...Jaime as ALWAYS been an easy going all around nice guy. I have known Bliss for years..when he trained his brother to be an AC..he would never tolerate any disrespect from anyone in his camera department. I am in total shock over this. I do not believe Chris said to call you, "Boss"..if he did..I assure you he was joking. That guy is one of the nicest DP's..he never yells or gets upset..Did I mention again..that I am totally shocked!!!

As a an operator who has done Hundreds of music videos of all types I find this experience outrageous and unbelievable. Are we sure we got the names right???

with respect and no tone implied

george bianchini

 

I totally agree about Jamie and I've worked with Bliss and they both are really cool and I wouldn't and couldn't understand why... unless it was about Elliot wanting the cash upfront and running to the bank. Maybe they felt slighted or figured Elliot had a chip on his shoulder... I don't know because I was not there.

 

Info came from the camera house and Frank B. (CPT) was very certain of who did the job. In fact I was about to stop thru CPT just to meet Elliot and a say what's up to Jamie, but couldn't make it.

 

BJ: Yes... Fat Cats whom I don't know if they even called anyone union for the gig, they are now signatories but GA is still RTW state (don't think it was scab treatment do you. <_< ) I can't say for sure because I didn't get a call but then again I haven't rerated to operator yet... my days are numbered ;) and they have a chip on the shoulder from my location manager days, so I think the burned me out of the rolodex.

 

-Alfeo

[BJMcDonnell SOC]

Hmmm.. Thats wild. I did a Tony Yayo / 50 cent video with them. They (Fat Cats) were ok guys to work for. They were not the most fun guys to work with but they didn't treat me bad. I think I told one of them to let go of my rig one time but that was about it. Still, nobody should be treated like that on a set.

 

BJ McDonnell

[Elliott Yancey]

Ok, so I think there are several things going on here after reading the posts from some of you guys that have worked with them in the past. I think a lot of the fault for the situation falls on me. I am a new operator and because of that I did not feel comfortable pushing back. It may be a classic case of it happened because I allowed it to happen. It was never my intention to bash these guys on the forum or to create a scandal, I simply wanted to better understand what was expected of a steadicam op on set as a new operator. I hope I have not hurt anyone's reputation, or tainted my own. The environment was just more tense and hectic than the other projects that I have worked on (which honestly have not been many). Maybe my "greeness" showed and I did not command respect from the start. I admit that I felt a bit over my head. Although, I DID NOT oversell myself for the project, I was very honest about my experience when they called me. That information could have been pasted down so Chris may not have had the best expectations of me.

 

Also, let me clarify, Jamie (AC) was great to work with, there were two units working on the shoot and I bounced between them both. It was the AC of the unit that Jamie was not on. (I would not call it a true 2nd unit because the main talent worked with both units)

 

As for Fat Catz, I had little direct contact wit them. In fact, it was difficult to tell who was directing in all the chaos. (and chaos is an understatement) It seemed everyone had an opinion. I guess everyone that can see a monitor is a director and a DP!

 

As a final note, the video debuted today on MTV2 (Ciara feat. 50 Cent) and it had a nice look to it. It is obvious that Chris knew what he was doing and the project came together well. Props to him pulling off a nice look under tough conditions. I never wanted this post to go the direction of naming names and casting people in a bad light. I am willing to accept some blame and recognize my inexperience. It is because of this inexperience that I posted this topic in the first place. I wanted to better understand how to be a good operator. Chris, if you read this or hear of this post, I hope we can work together in the future and I am truly trying to improve my skills and learn to function professionally in the production world. I do not want to step on other people to get to the top and I think you did a great job with the look of the video. I just think that we miscommunicated from the start, and that is probably my fault. The bottom line is that I got paid quite well and the final product looks great, so in the end I am happy and would probably do it again given the chance.

 

 

-Elliott Yancey

[Alfeo Dixon SOC]

Ok, so I think there are several things going on here after reading the posts from some of you guys that have worked with them in the past. I think a lot of the fault for the situation falls on me. I am a new operator and because of that I did not feel comfortable pushing back. It may be a classic case of it happened because I allowed it to happen. It was never my intention to bash these guys on the forum or to create a scandal, I simply wanted to better understand what was expected of a steadicam op on set as a new operator. I hope I have not hurt anyone's reputation, or tainted my own. The environment was just more tense and hectic than the other projects that I have worked on (which honestly have not been many). Maybe my "greeness" showed and I did not command respect from the start. I admit that I felt a bit over my head. Although, I DID NOT oversell myself for the project, I was very honest about my experience when they called me. That information could have been pasted down so Chris may not have had the best expectations of me.

 

Also, let me clarify, Jamie (AC) was great to work with, there were two units working on the shoot and I bounced between them both. It was the AC of the unit that Jamie was not on. (I would not call it a true 2nd unit because the main talent worked with both units)

 

As for Fat Catz, I had little direct contact wit them. In fact, it was difficult to tell who was directing in all the chaos. (and chaos is an understatement) It seemed everyone had an opinion. I guess everyone that can see a monitor is a director and a DP!

 

As a final note, the video debuted today on MTV2 (Ciara feat. 50 Cent) and it had a nice look to it. It is obvious that Chris knew what he was doing and the project came together well. Props to him pulling off a nice look under tough conditions. I never wanted this post to go the direction of naming names and casting people in a bad light. I am willing to accept some blame and recognize my inexperience. It is because of this inexperience that I posted this topic in the first place. I wanted to better understand how to be a good operator. Chris, if you read this or hear of this post, I hope we can work together in the future and I am truly trying to improve my skills and learn to function professionally in the production world. I do not want to step on other people to get to the top and I think you did a great job with the look of the video. I just think that we miscommunicated from the start, and that is probably my fault. The bottom line is that I got paid quite well and the final product looks great, so in the end I am happy and would probably do it again given the chance.

 

 

-Elliott Yancey

 

Elliott,

 

I am VERY SORRY for you to have to feel as if you have to apologize for any wrong doing. As someone stated to me that that was your job and experience and I had no right to put your reputation at stake.

 

I guess when you said you didn't know these guys I took as you didn't know and not protecting interest, maybe it is best to keep names out of it or maybe not. But the bottom line is that I never wanted you to feel this way.

 

Heck, I guess most of us would have wanted to get our money upfront... I know I would have. But I was not saying that you did anything wrong, just that perceptions can be different across the board.

 

Sorry...

 

-Alfeo "foot-n-da-mouth" Dixon

[Christopher Probst]

Hey Gang, just chimin in here. Elliott sorry you had a difficult time on the job. It was not a well run production by any means. Low budget, new start-up prod company, and very little prep time. They are all decent and all well meaning, but it was chaotic for sure. We scouted locations one day, only to be taken to a "NEW" location the day of the shoot since they never had the permission/permits for the locations we scouted. So there was a liberal level of disorganization to be sure. But that's unfotunately, not all that uncommon.

 

As for flying your rig that long, actually you had two sequences to shoot, a walk-and-talk sequence on a side walk that we shot for about 2 hours with the rig, wide, med and closeup frontal, and the wide and medium profiles. Then we did a company move a hotel in downtoen to the rooftop set where, you waited for about 4 hours until we finished an interior sequence and moved up to the roof. I'm not trying to be mean, but there's more to being an operator (and not just Steadicam, since Steadi ops often operate a B camera on a head as well...) than buying a rig. I'm am a self-admitted "touchy-feely" DP. Electricians go crazy running after me for moving lights around. It's a bad habit, but I can't seem to help myself. I just run around like a maniac. That said, I don't enter into anything lightly. I don't speak about something unless I know about the subject matter. Likewise, I like to know the needs of the departments on set. I came up through camera and had the pleasure to work with many talented Steadicam operators. I never touch a rig without first asking permission. I was tought that years ago and I respect it. The Steadicam is part of your body while you wear it, and there's a lot of inertia going on there that people don't realize.

 

That being said. I will admit I was somewhat frustrated with the shoot and our communication. Repeatedly I gave notes on the sidewalk about framing and headroom issues that didn't improve. After half of the day I then noticed you had your framelines wrong on your rig and that helped correct the matter somewhat. These are basic, first step protocol issues. What's the format? How shall I set up my rig? When you compose a shot for a DP, you're incontrol of their image. They are helpless, so it is imperative that you deliver what they're looking for, even if it doesn't jibe with your personal tastes. As a union operator for years, I had to sometimes compose counter to my personal tastes to satisfy a director's vision. It's part of the job. Now, I don't think personal compositional tastes were an issue on the Ciara job. I felt we were just struggling to get the image on film, framed and in focus. Many factors play into that. Usually I like to work with shallow focus. It feels more cinematic and is part of my visual style that people respond to in my work. However, I am also pragmatic. I frequently will change filters for a 1st AC to get a better chance on a longer lens. This did happen on the ATL job.

 

I know that job was not an ideal. There were many inexperienced crewmembers tripping around you and making your path hard. We didn't have street closure (I too was struggling with the lack of lock-up space as I was trying to get an edge light out on the street when we weren't permitted to do so.) The list goes on. However, I will temper all these comments with the fact that 90% of the time, we work in difficult situations and are asked to deliver. It's what makes American crews the best in the world, our tenacity and ability to roll with the punches. So my advice to you is to toughen your skin. Study your craft, get more solid and stable with your rig. Learn how to help the process if your AC isn't a magician on the focus (maintaining a constant distance is always helpful.)

 

There is always pressures on the set and that pressure goes both up and down the ladder. When you have directors that aren't technical, or communicative, who do you think has to take up the slack to get the project done, and done well? I'm not complaining for the role the DP has to assume and mold from job to job, it's what makes it challenging and constantly interesting.

 

I will admit by the last scene, when we were getting kicked off of the rooftop location, I may have been a little impatient with framing issues and assisted you to where I needed the camera to be. That isn't standard form on set, and certainly not my normal way to treat my crew. So I apologize for that. I usually try to keep things moving quickly, with high demands and precision, but with a sense of humor. I'm sure that's what George was attesting to. Being a director of photography is just that. I DIRECT the photography. The lighting, sure, but also the focus, the composition as well as the pace at which all those elements happen. If one element throws a monkey wrench into that flow, it can bog the whole system down and then needs to be addressed. Remember, as an operator, you're stuck in a strange limbo of answering to both the director and the DP. You're a collaborator with both of them. You have to gauge and feel out on each job what exactly that role means and how you democratize your place in it. Besides art, there's a shit-ton of politics in our industry. Be careful what battles you pick and what stance you take.

 

Cheers and happy flyin'

 

Chris (Never been asked to be called "Boss") Probst

[Elliott Yancey]

I just want to publicly thank Chris Probst for his professionalism and tact. I inadvertently caused his name to be slandered on the forum and he is obviously a stand up guy that knows how to take the high road. Chris is correct that he did not ask me to fly the camera for 6 hours straight, but there were two units that I jumped back and forth between and never got a chance to really rest. He is also correct in his comments about framing and headroom, I am still learning and that was my first experience with film. His frustrations with me are deserved. I learned a great deal that day (like the value of having your frame lines set up correctly). Chris did a great job under difficult circumstances (not the least of which was a green steadicam operator) and that is a true testament to his talent and leadership. If you ever get a chance to work with him, take the job with confidence and know you are in good hands.

 

 

-Elliott Yancey

[WillArnot]

... and the flip side! Much to be learned here for less experienced ops. Thank you Chris for giving us your views on the matter.

 

After a few years of operating, the mechanics will become second nature and you will find that actually the more challenging part of the job role is managing the politics. As Chris alluded to, as a Steadicam op you are also a Camera operator. Your role is not to dazzle people w/ your gear or spin the sled around in an endless dynamic circle. These are parlour tricks. As an operator of cameras and camera bearing devices, your duty is to serve the DP and Director in realizing what they have spent days, perhaps weeks and months, preparing to achieve. It is an important point Chris made in that sometimes you must frame/shoot things in ways that don't agree with your personal aesthetic. Once you understand this, it will become easier to recognize how to listen better to what people want, rather than just give them what you know how to do.

 

This is another part of the challenge of the operator, especially as a day player - we are thrown in at the last minute, it is up to you to gain as much information to make your role and their choice in operator worthwhile and seamless. I don't intend to inflame anything on this thread, there is never an excuse for bad behavior or to EVER touch a man's rig! but I find Chris's contribution here an important commentary on the modern day role of the Steadicam op.

 

Sadly the days of "stop everything, here comes the Steadicam" are long gone. With all the modern equipment the challenge is no longer how we make the rig work, but how we listen, how we talk, how we politic, and yes - how we frame. I remember once a DP saying that the technician w/ the biggest tool belt often knows the least - all the tools are a facade b/c he/she doesn't know what they will really need. I find there is a lot of truth in that statement.

 

So.... the moral of the story? Cut your teeth on student films or little things where you can just get used to the sheer physicality of the job. As Chris pointed out - consistency is huge. How would you feel as a regular operator on a dolly move if the dolly grip hit a different mark each time or made a boom move at a different time in the shot?? You would blow your stack! Now you are the dolly, and it is your responsibility to analyze the shot and establish the timing and important aspects of the framing so that you can quickly start repeating a move that everyone likes. This will win you lots of points w/ the AC (& DP/Dir) as they will be able to lock on to your rythm and timing as far as focus pulls go. Walk and talks are simple and yet involve you paying attention to the size you establish. KEEP that size. It just looks better anyway. Once you decide on a frame, find a reference and KEEP IT. ie. a medium shot that just holds the person's belt buckle - then just hold the belt buckle. But you must be aware of finding these references and keep an eye on them. If you are battling the rig or you aren't balanced correctly, you probably aren't paying attention to your distance and therefore frame size as best you should and your ability to hold a consistent frame will rapidly deteriorate.

 

Elliot, you have brought up important issues in this thread and there is some great advice here from other ops for all of us to learn from. I felt compelled to add in my .02 as I do find that the politics and the on set dialogue has become just as significant as the technical aspect of our job role. Learning to pick which battles will only come with time and experience. I have learned a lot of this stuff by trying to work with salty veterans of our trade. Also the book by Bill Hines on Camera Operating is priceless. We are but cogs in the machine folks, and the better we understand how to integrate into the bigger picture, the more your individual talents will be appreciated.

 

Your job will prove to be a pivotal learning experience by the sounds of it.

 

Thanks for sharing and good luck w/ everything.

 

Will "never let them see you operate" Arnot