Whose job is it to put together camera, lighting and grip gear lists?
Working out what kind of camera, lighting and grip gear are going to be required is very much the DP’s role. If I’m working with people I trust, I’ll often leave some of the minutiae of the lighting list to my lighting gaffer. We’ll meet to discuss the main lighting requirements, and I’ll let the gaffer fill in the blanks as regards all the lighting grip gear and stands etc. Again, with camera grip gear, I might just specify dolly and track, and let the grip work out all the accessories. Very rarely, I might get a camera assistant to expand a basic camera list, but only if I’m really up against it in terms of time.
Figure 42. Simon Minett in action.
If you’re going to need camera assistants, is it up to the producer/director to find them for you or do you bring your own?
I would certainly attempt to find camera crew that I knew and trusted if possible. If I feel that the script is good enough to be worth putting some effort into, I will attempt to procure some or all of the camera crew and lighting crew, but I also have to bear in mind that pulling favours for people can’t be done lightly because you’re talking about people’s time. If, as a DP, you do end up working with unknown crew the producer/director has found for you, it’s worthwhile vetting them quite carefully, making sure that people can actually do what they say they can do. After all, it’s a dangerous business, and some of the gear is worth a lot of money!
What format do you think is most viable for short filmmaking, with regards to achieving a high-quality cinematic image?
That’s a Pandora’s box of a question. There’s no one answer. It depends on the nature of the project. The digital revolution is well underway and there are a variety of formats to choose from, but making that choice is very difficult, and it isn’t only about money. A lot of people shoot short films on DV, but if a film is intended for festivals, and/or cinematic projection, then I think DV, or even HDV, is not the format. HDcam is a good format, but it’s worth remembering it’s only half the resolution of 16mm, and a quarter of the resolution of 35mm. Projected onto a cinema screen, the amount of image degradation at such low resolution is very apparent.
What format offers the most value for money?
I refer you to my last answer. On paper, shooting on film is a great deal more expensive than shooting digitally, but it’s not just down to crunching the numbers. Film does still have a very particular aesthetic, which is currently to my mind still out-performing most digital technologies, apart from perhaps at the very high end, which is out of reach for most short filmmakers.
If you shoot on film, does that mean it will automatically look like films at the movies?
Not at all; that’s entirely dependent upon the skills of the people making the film. A good crew can make a great film on a cheap camera; a poor crew can use very expensive equipment and end up with something absolutely dreadful.
What do you think is the most important aspect of being a good DP?
To be a communicator. To listen. To never forget that you’re a facilitator; you’re an artisan, not an artist, you’re there to interpret other people’s ideas, and make them reality.
Do all DPs have an individual style, or do you adjust to what the director wants?
Difficult question. Obviously DPs do develop styles, and do have quirks and tricks that they end up using, but I think that as a DP one should aim to be a chameleon, to replicate any look, or to interpret ideas in any way that the director wants to interpret them. I would always shy away from being pigeon-holed as having a particular look.
What kinds of thing can go wrong, camera-wise, on a short film shoot?
Short films, as we said before, tend on the whole to be low-budget, and as a result there is financial pressure on all the departments. It’s very common to have inexperienced crew on short films, and so mistakes get made. This is particularly acute in relation to camera crew, as any mistakes can be absolutely catastrophic. If an art director or a wardrobe or make up person makes a mistake it can usually be dealt with somehow in post-production, perhaps by re-editing in some way, but if, for example, the focus puller makes a mistake, that’s that, you’ve got to re-shoot; all the material is simply unusable. This is especially true when shooting on 35mm, when focus pulling becomes absolutely crucial because of the shallow depth of field.
How can the producer/director make your life easier as a DP?
Allow enough time in pre-production. All the pieces need to be in place before you start shooting; that includes post-production. It’s very important for your producer/director to have their post-production workflow worked out before turn over, because that can affect how you shoot. It’s crucial. Is the job going to go for projection? Is it just for TV? Is a telecine necessary or will it be traditional film grading? Etc, etc.
What are the commonest misconceptions you encounter working with a director?
Directors come in all shapes and sizes; some are more experienced, some are less. The one crucial skill that a director must have is the skill to communicate, to translate their ideas into a language the film crew can understand. I don’t expect a director to necessarily be conversant with cinematographic language; I don’t mind if the director can’t say ‘we need to track left, pan right, crane down’, but they have to be able to tell me how they want it to look in some way I can interpret. If the director is less experienced, the role of the DP is to fill the gaps with regards to how the film gets shot; but you’ve also got to know when to step back.
Once the shoot is over, are you also involved in the post-production processes such as grading etc?
Especially with digital technology being more and more prevalent, I increasingly think that shooting a film is only half of the issue photographically. In a way, grading is an extension of what the DP does. Although it’s very often impossible, due to money and time restrictions, a DP’s input into post-production can be very useful, and it shouldn’t be assumed that the end of the shoot is the end of the DP’s role. At worst, a DP may have shot in a particular way for a particular look, and if nobody has communicated this to the grader then they may go against it in grading and end up in trouble.
What about using short ends and re-cans? Can you shoot a film on them?
It is possible to shoot a film on film extremely cheaply on short ends and recans. The most important thing is to get them clip tested by the laboratory to make sure that they haven’t broken down so that the colour balance has shifted. Same with tape stock. No reason why you can’t re-use tape stock, but it’s well worth re-blacking all the tapes, to make sure there’s no drop-out on them. Ideally, if you’ve got the money, you don’t do that, but often people need to save money.
What kind of lights should you use? Do you use different lights for shooting on film and video?
I don’t see a distinction between lighting for film and lighting for digital; it’s all lighting and it depends on the project. The point is to plan what you’ll need for a particular scene and why you need it, working within budget. If you can’t afford your first choice, then how can you get around that? Always find an imaginative way to use whatever money’s available. If you’ve got a big wide shot at night you may need a lot of lighting equipment. If it’s daylight exterior, you may need very little indeed. People will often use smaller lighting kits for digital format, but it’s not the case that digital formats automatically need less lighting. In fact, to my mind, they need more, because they’re less light-sensitive.
What are key light, backlight, and fill used for? Do you only need three lights?
Three-point lighting is taught as the classic way to light a three-dimensional object. Key light, we speak of as the motivating light source. Fill light controls the contrast ratio. Mood is established by fill. Backlight, or rim light, makes objects stand out from the background and appear more three-dimensional.
Can you use old film cameras, because they’re cheaper, or do you have to shoot on brand new ones?
One of the most wonderful aspects of shooting on film is that the technology is in the film stock. Film images essentially come down to the lens in front of the film and the film stock, and film stock has improved massively, far outstripping any of the digital technologies. There’s no reason at all why you can’t shoot on an old camera and, providing the camera’s in good condition, get a good result.
Can you shoot a whole film on a zoom lens?
Absolutely. Classic case in point is a BAFTA award-winning short called About a Girl shot by Jeff Boyle. Prime lenses are better; they are slightly higher resolution, there’s less glass. But if you’re working on higher-resolution format, there’s no reason why you can’t work with a zoom at all.
What advice do you have for new short film directors?
Make sure you know what you want to do with your film before you shoot it. Get a crew around you who you know can do the job. Don’t try and do what can’t be achieved within the budget; keep it simple.
How long do you think it will be before people stop shooting on film?
I don’t think film will disappear overnight. Film is expensive and digital technologies will become more prevalent, but film will remain for a long, long time to come.
Why might you need to use different stocks? Can you use daylight stock indoors, and vice versa?
As a DP, different film stocks are like different paints for an artist. Stocks can be used in an unusual way to get a particular effect. Using high ASA stocks to get a grainy effect, using low-ASA stocks to get a grain-free effect; using stocks of a particular colour temperature in a deliberately different environment in order to get a particular colour bias. Manipulation of stock is a very important and useful part of the DP’s armoury.
Can most problems be fixed in post-production? Which can’t be?
The things you can’t fix in post are the in-camera elements of shooting. Has the film been loaded correctly? Is it in focus? Has it been exposed correctly? If there’s a rip perf (perforation) on a piece of film that goes into the lab, the whole bath can be ruined. All the rushes will simply be destroyed. Focus has to be there or you’re never going to get it back. Very often, inexperienced DPs get the exposure wrong. If you’re on film or high-resolution format that can be fixed in post, but it depends on what post-production you have, what resolution you have in post-production.
Is it possible to shoot and direct at the same time?
Yes, depending on genre. With dramatic cinematography it’s unlikely, because there’s too much to do. That’s not to say people don’t do it, but it’s not really viable to be able to deal with actors and deal with cinematography at the same time.
Why do you need camera assistants?
If they know what they’re doing, a camera assistant is a really useful resource. The more time the DP has to spend dealing with logistics, the less time they’re going to have to devote to the interpretation of ideas. Regular camera assistants make the shoot go quicker, and give the DP more freedom to create an aesthetic.
What do you enjoy most about working on short films?
Short films can be extremely creative. There’s a certain freedom, they’re good for the soul.
23. LOCATION SOUND
The importance of recording high-quality location sound cannot be stressed enough. Although digital sound engineering now offers filmmakers more precise control and opportunity for manipulation and processing, to make use of this potential an initially clean and consistent recording is required.
Location or production sound is the process of recording the dialogue of the actors as well as sound effects and atmosphere. This crucial role is performed by the sound department, which usually consists of a sound mixer and boom operator.
SOUND MIXER
The sound mixer is responsible for monitoring and mixing the levels of various sources of audio and also deciding how those sources should be recorded, which type of microphone should be used and how they should be placed. The sound mixer also coordinates the rest of the sound team.
BOOM OPERATOR
The boom operator is the sound mixer’s assistant, responsible for placing the microphones on the actors or set, as well as directly controlling a microphone attached to the end of a boom pole.
TECHNIQUE
How a scene can be optimally recorded depends on the nature of the set or location and the demands of the shot. There is no single method of recording that will cover all eventualities, so a combination of techniques is often used.
Boom
Using a boom generally allows for a greater amount of control when recording dialogue. The basic principle is that a directional microphone is attached to an extendable pole, often a professional fisher pole that allows the pole to be extended or contracted, or a fixed-length fish pole. The boom operator is then able to follow the movements of the actors, while keeping the microphone out of the shot. Directional microphones are generally used for this purpose, as they can be aimed at the actors, focusing on picking up the dialogue rather than the extraneous sounds.
Planted
When a specific shot does not allow for a boom operator to follow the action, or the actors remain static, a planted microphone can be used, often hidden behind a prop or piece of scenery.
On body
Small microphones known as clip-on or lavalier microphones can be attached to the clothing of the individual actors and then either attached to the mixer via cables, or a radio microphone can be used. Lavalier microphones have the advantage of being small and concealable, but the disadvantage of picking up additional sounds, such as the rustle of an actor’s costume or gestures.
Room tone/atmos
Although the focus of the sound crew is generally the dialogue, it’s also standard to record just the sound or atmosphere of a particular location or set. This helps to fill any gaps that can occur editing.
EQUIPMENT
Just like film camera and lighting equipment, professional sound equipment is complex to set up and operate, relying on both technical know-how and experience as to which methods and approaches are best for various situations.
Choices over types of microphone, mixer and whether to record straight to the audio channels of the video camera or on a separate format such as DAT all need to be weighed up by the sound recordist based on the demands of your film. If you want to get dialogue of professional quality for your film then ideally you should try and find an experienced sound recordist, or at least someone with knowledge of sound recording. Both should be able to choose the right combination of microphones and mixer for the situation.
INTERVIEW WITH OLI COHEN (SOUND RECORDIST)
Oli Cohen is a sound recordist who recorded his first short film over ten years ago. He is based in London but has worked and travelled all over the UK and around the world. Having an understanding and experience of both location and post-production sound, as well as a love for filmmaking, Oli has worked on numerous features, documentaries, commercials, corporates, webcasts, EPKs, art projects and award-winning short films. For further information about Oli Cohen visit www.olicohen.com.
How did you become a sound recordist?
Coming from a background in classical music, I was trained from a young age to listen in a very focused way. As a teenager in the late 80s and 90s, I was very much into Hi-Fi, like many people. I also played in numerous guitar bands, but the breakthrough really came when I bought my first sampler. I became enchanted by the ability to record and manipulate any sound and it was this, along with a love for films and documentaries, which led me to working with sound professionally. The first thing I ever did was volunteer as a sound assistant on a student short film at the Northern Film School up in Leeds. Within a short space of time I was sound recording on shorts but I didn’t really know what I was doing so I decided to apply to the National Film and Television School (NFTS), where I ended up studying screen sound, both location and post, for three years.
Figure 43. Oli Cohen in action.
As a sound recordist it is your responsibility to get the best possible, usable, appropriate sound for each shot and scene. Ultimately, this means capturing the dialogue as cleanly as possible.
At what stage of a production do you normally get involved? Is there an ideal time?
Ideally you get involved early so that you can go on recces, meet other heads of department, find a boom operator who’s available and plan your life a bit. In reality, however, with short films I normally get a call a couple of days before shooting starts.
Do you get consulted about potential locations?
Very rarely. Often with shorts there’s so much begging and scraping going on that people can’t afford to be that choosy. This of course can result in some dodgy sound locations, like recording right under the flight pass near Heathrow! It has been said that location sound is always a compromise. Well, it certainly was on that film.
Do you get to pick what equipment you want to use for a film?
I always use my own kit on short films. This saves a lot of hassle for everyone, especially me.
How do you get an idea of what equipment might be needed?
Short Films Page 16