Communication

on the set

There are all sorts of people and departments you need to interact with on the set. As soon as you can, introduce yourself to the entire camera crew: to the ADs; key grip, dolly grip, the rest of the grips; sound mixer and boom operator; script supervisor; camera car or vehicle driver; on set dressers and greens persons; gaffer and electricians; on set painter; and the driver of the camera truck. Wardrobe may lend you special clothing; make-up and hair may want you to pay particular attention to an actor's skin or hair. The special effects people should certainly be talked to if there are any stunts or explosions planned for the day.

The list goes on and on and varies by production. Get the call sheet for the day, read the names of all those you'd like to talk to, and try to memorize as many names as you can. The key thing is to fit in so you can do your job efficiently, and treat everyone as you would like to be treated. If you need something from a department, such as flags from the grips or a headset from the sound department, ask for it early. Be patient. At the beginning of the day there are often a lot of organizational problems to be solved, and you may not get to talk to everyone exactly when you'd like to.

Limit your demands for gear only to those items that impact your safety, such as proper ear and eye protection. Try to ask for even those things nicely.

Always ask for help from the rest of the crew. Try to explain how you need a path cleared of debris or holes filled in to the greens man. Ask the on set dresser to watch the monitor to be sure that nothing out-of-period slips into the movie or to point out important props that should be in frame.

Be sure to let other departments know of things that are going to impact them. If you will be using gyros or an MOS camera, tell the sound department ahead of time.

Talking to the actors

Talking to actors and actresses varies greatly set by set, actor by actor. My general rule is to be polite and to keep the conversations brief and related to the task at hand. I'm always really pleased to meet them, but they are busy folks with lots of pressure to perform. Big stars are constantly accosted by all sorts of fans, paparazzi. nutcases, agents, producers, directors, etc. Don't add yourself to the list.

Some actors are more accessible than others; some have rules about not talking to them, ever. Always try to comply with their rules, unless the request is simple and you can't get to the person who is permitted to talk directly to the actor.

Always be interested in what the actors are doing or saying. Watch how they move and talk. It will help you with your shots.

Talking to the director and DP

The most important things to hear from the director and DP are clear descriptions of what is going to happen and how to shoot it. The more specific their direction, the more you can achieve what they want. As you go through rehearsals and takes, try to show them specific framing and timing, and you can then discuss whether or not your choices are useful. Knowing the script helps to keep your choices informed.

One thing that often happens: the Steadicam operator talks a lot with the director. Although generally it's a good and necessary thing, it's also important to realize that the director of photography (your boss) is sometimes left out of the loop on critical issues. This also happens in regular operating — many DPs like to operate for exactly this reason — but it tends to be more pronounced with Steadicam operating.

When the DP uses the Steadicam, he is giving up a large measure of control to the Steadicam operator. The path is not fixed like a dolly, and hecan't look through the lens. The choices a Steadicam operator can make are huge, and many of them are bad from the DP's point of view Keeping the DP out of the loop (even if innocently done in the heat of production) just adds to his loss of control. It only takes a little extra effort on your part to keep the DP involved in a timely way where he can enhance the shot, eliminate problems, or voice his objections before loo many decisions have been made.

Ironically, while the DP may feel he is losing control when the Steadicam is used, the director may feel just the opposite. He can talk to you like he talks to actors, and instantly he gets a change in the camera's performance. He probably wanted the Steadicam for some special movement, so he concentrates on getting the right move and feeling by talking directly to you and bypassing the DP. He may even be so involved in talking to you — as the new guy who knows nothing about the story or scene — that he takes less time with the actors and everyone else. You're thrilled by the attention and you need the information, of course, but don't let it go to your head.

Many, many actors dread Steadicam shots because the Steadicam suddenly becomes the star, the focus of the director's attention. Their needs arc subordinate. Never forget you are behind the camera. The actor's performance shows up on the big screen with all the glory and all the wans; your slightly mis-framed or off-level-for-a-moment shot is of small consequence in the scheme of things. Your attitude can make life better or worse for the actors. It's your choice.

We suggest you keep your circus act to a minimum and your conversations brief. Take a look around. Are the other members of the crew - especially your boss, the DP -being ignored? Is the actor standing there out of the loop?

Donnie Brasco, King's Court

Donnie Brasco 0:55:54

Sometimes words are not necessary between takes; everyone seems to be on the same page. Your words,in particular, may just slow down or interrupt the process, adding tittle to the final shot.

On the movie Dannie Brasco, we used the Steadicam to shoot the entire King's Court scene. When we went through the basic rehearsal for the scene, very little was said to me. I listened intently to the director (Mike Newell) and actors (Johnny Depp and Al Pacino) when I could, and I altered my operating based on what I heard or felt.

A good pan of the second day was devoted to one shot, where Al Pacino's character (Lefty) bares his soul to Donnie Brasco. It's a short shot in the sequence, but it's one of the biggest moments in the film. Pacino and Newell wanted to do the shot many ways, altering the performance, so we shot something like thirty-four takes. I believe that all but two takes were technically fine, but each take was different.

If Pacino played the scene more angrily or aggressively, I tried to respond with the camera. I might get closer or move faster or hold the post harder, not allowing the rig to float as freely. As he happened to address most of his comments in my direction (looking off camera right), I would also try to hold my ground and stare back at him when I could. I should also add that I had been on the movie for many weeks by this time and I had the confidence of both the director and the actor — otherwise I would not have operated as I did or dared to look at him.

If, however, he was playing it very close, as if releasing a secret, or reluctant to open himself up, I would be slightly farther away and let the camera float with a light touch. I would stare at my monitor and not make eye contact with Pacino, and I tried to relax my body posture to essentially disappear as much as possible.

Between takes. I would listen — at a discreet distance — to the conversation between the actor and the director, if they talked at all. I also watched Pacino as he prepared for the scene and we rolled sound and camera. Based on the discussions and observations, I would change my operating. I might have whispered something to my assistant like, “I might get a bit closer this time,” but not much else.

One part of the shot I really like is the “release” of the frame as Lefty crosses and exits. The focus shifts perfectly back to Depp, and the camera is pulled to the right as if by eddies of Lefty's energy.

As a day player

If you are a day player, your presence is going to change the normal flow of work on the set. In spite of everything positive you do, you may encounter difficulties with members of the crew. You may provide relief for the DP who's tired of fighting with the grips, or you may be an unwanted interruption in a well-oiled machine. Perhaps it is windy and you need two grips to hold flags for you, but maybe the DP is looking ahead and needs those grips to build a crane for the next setup. Communicate your needs early and let the others solve the problems your needs create.

Also as a day player, your enthusiasm to be working with a famous director or DP may run counter to the feelings of the crew who have been living with a difficult personality for 6 weeks. He may be glad to have a new friend, but you never know exactly what you are going to encounter.

It is great to work with a crew that is having a good time and one that is committed to the project and the people in charge. If this is true, the Steadicam's presence is seen as a help to production, and unless you do something stupid, you will get the help you need to make everyone happy that they hired you.

At a minimum, it's nice to come to a professional set where everyone knows the drill. They understand why a Steadicam operator is there, and they will help you as they would help anybody. It's just part of their job.

The main reason to talk directly to the director and DP is to get the straight story about a shot and to pick up any nuances or specific requirements that you can. Some problems can be resolved very quickly (does this chair have to be here?), and you also get a feel for what is important Knowing what the director and DP really want from a shot helps you to make more specific choices about timing and framing.

Part of the Steadicam operator's job is to establish clear and proper lines of communication. A few times a DP or director has asked us to do something impossible or dangerous, and it was important for us to quickly change those plans. Such communication is more difficult if attempted through intermediaries, and may put a huge strain on the messenger. All difficult conversations should be done face to face, and quickly

The end result of a difficult conversation should be finding a way to get what the director wants on screen. That way includes everyone's safety and accounts for the physical realities of Steadicam operating. Several times we have refused to do a shot because we thought it was unsafe, and no one could figure a way to make it safe. A few other times, the Steadicam was simply the wrong tool. It's a tricky call if it's the only shot you've been called in to do.

An extreme example

I arrive on a set as a day player. The director/DP shows me the shot. The lens height is at my waist, and the camera precedes the actor running at high speed in a tunnel. Every now and then there are low doorways to pass through. I quickly determine that the grips (several of whom are also Steadicam operators) need to build a very tiny low doorway type dolly using skateboard wheels. We will hard mount the Steadicam as low as possible and I will somehow scrunch up the Steadicam and my body to fit through the low doorways

I relate the plan to the director, and he responds, “No. I hired you to wear that thing.” And very quickly I said, “No. You hired me to get the shot. This is the way to do it.”

Now there are only two outcomes from this exchange, and both of them would have worked for me. I could have been instantly fired. I did not really want that to happen, but it would have been better than injury and failure. The other option was to do it my way and get his shot. The director's way would not have worked for either of us. I must have said it with a smile or some enthusiasm or something, because, fortunately, the director did not bite my head off. Instead, he realized his position was untenable, and we went on to get that shot and several other tricky and dangerous shots — all with a minimum of blood being spilled.

On the other hand, if a director asks me to do something that I think is aesthetically wrong or even impossible, I'll give it my best shot. Often I discover that the director had a great idea. I think the key here is to listen well and try to figure out how to give them what they want.

Talking to the A-camera operator

On my very first big movie, Where the Heart Is, I had a difficult time working with the A-camera operator, Ken Ferris. Most of the day was going to be devoted to my shot, and right away I sensed that Ken, who had no shots to do, was not pleased. It was not that tough a shot - a walk and talk on the Brooklyn Bridge - they just wanted it done in the late afternoon light, and we were going to wait for that light a long, long time.

I did my best to get Ken involved. I asked him to be my eyes at the monitor at video village. I asked him to help me scout the set for bogies and flares. This worry about flares soon became insane as we were looking directly into the setting sun and four full reflections of the sun coming off of the towering Wall Street skyscrapers. I asked Ken about headroom, how the director and the DP liked to frame things. I asked him allsons of questions, and he helped me, but it was all very cold. Eventually we got the shot, moved on to other work (both conventional and Steadicam), and I left the set hoping that the next film would be more fun.

A few months later I got a call to work on another film, and Ken was again the operator. I was concerned it was going to be another long, emotionally cold day. But he greeted me as a long lost friend, happy that I was there. I had treated him with respect and involved him in the process the first day, and he remembered that.

Sixteen years (and several movies!) later, I asked my friend Ken about our first encounter. He remembered it well, but of course, differently. His take on the day: This movie was also a big deal for him. He, too, wanted to impress the director John Boorman, who had just finished the wonderful film, Hope and Glory. Ken did not know me, but felt that if I did a bad job, it would reflect on him as the A-camera operator and the whole New York crew. (This was one of the first of those movies mostly shot in Canada, with just a few days in the real city.) So he was wary of me and tried to help, which I interpreted as cold. Angst for nothing.

Every operator is different, but you can't go wrong asking for the operator's advice on headroom and framing for this particular DP. If he's receptive and not too busy, he may offer more advice, agree to help you through some aspect of the shot, etc. If not, fine, but at least you've shown him the respect he deserves as the A-camera operator, and he can't be grumpy about that.

Often the A-camera operator's first assistast is also your assistant, so be very careful not to take too much of his time.

We strongly suggest you don't waltz in as God's gift to production; it's the surest way to annoy the whole crew and find yourself watching them do your shot on a dolly.

Working withyour assistant

Camera assistants come in more shapes, sizes, and temperaments than the equipment. How they fit with you and your gear is more flexible.

You will find assistants eager to help you and happy you are there. They may be assigned only to you, or they may be the A-camera assistant with a whole department to run as well.

Some assistants hate working with a Steadicam, period, and there is nothing you can do about it. Others find it a fun challenge and others arc completely indifferent. All shapes, sizes, temperaments, just like Steadicam operators.

One operator's prime assistant may be another's nightmare. When you encounter an assistant you like, start a scholarship for his kid's prep school fund.

Regardless, it is your job to work with the assistant, especially if you are just a day player. It is also his job to work with you,

and usually it is not difficult to find a way of working everything out. But it is often confusing at first.

So be flexible. Make your needs and concerns clear, and don't assume that certain jobs are theirs to do. Be organized and prepared for the equipment you will be using that day: have the right mechanical and electrical adaptors and cables to make everything work. Be nice.

A simple little shot

Almost always, what appears at first to be a simple and straightforward Steadicam shot has some small complication.

Day playing. Just a one day job. Surprise, it's a heavy camera, not the one promised, oh, it's the DP's personal camera, okay, I understand, no problem, we'll just make the rig a bit longer. Well, pretty long, but okay. Now what's this first shot?

Isla Fisher(hello, nice to meet you) exits the jewelry store, followed by Ryan Reynolds (hello again) and they stop and talk for a few words.

Fine. Short and easy. It can't be this easy, can it? She's not very tall.

Let's walk through it.

Great. We're going to do this by the numbers. He's kinda tall. Hmmmmm.

Isla Fisher bursts out the jewelry store door, turns camera left and charges down the sidewalk. Ryan Reynolds chases after her. She stops on a dime, whirls around to face him and we end in an over.

An over, low over her shoulder looking up. Low mode? Low high mode? It's at that awful height. Low high mode it is. But the sled is long with that heavy camera.

The DP, Florian Balhaus, shows me the finder. Be at this height coming out the door. Lower as you go down the sidewalk. Keep Ryan over Isla's shoulder. Here's the height for the over. Not too much shoulder. Don't pan further right. This is your end frame.

Okay, and I've got a tilt head to keep the post vertical. Just angle the head up.

No problem, let's try it!

Definitely, Maybe 1:05:16

We lay down some big V's for me on the sidewalk, and marks for the actors — another big V for her. I hope I can look away enough to sense the V.

Good gracious, holding her, panning, backing up, and seeing him out the door, got to banana way out for that moment, all at top speed, got to short her, don't want to over-pan. Boom down farther. Were scraping the sidewalk with the bottom of the rig. Can't go low mode, can I? I ask,“Would you like to see the awning? Nice detail.” Yes, be sure to include the awning, but not too much headroom.

Oops. The AC, Heather Norton, has a really big problem. My brand new focus motor is slipping. Impossible, but there it is. It takes a few moments while we switch out the whole system to the system she wanted to use in the first place. Production waits.

I'm anxious on many levels; especially about annoying my assistant, but Heather's cool with it. What now? What's the shot again?? Focus!

Frankly, I don't know enough about the movie. The sides don't reveal much about the characters or the situation. It's somewhere in the middle of the movie. What can I key in on other than Isla's energy? I've got to stick with her. No complaints from video village; I guess I'm doing the right thing. I hope I'm doing the right thing.

So we rehearse a few more times, change batteries at the most inconvenient moment, time every shot to the traffic light — all the usual stuff, just a typical Steadicam day working at the extreme edge of possibility. Isla was consistent, so it got easier after a few takes.

Another simple little shot. Moving on.