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DP - old and inexperienced


soundtrane

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Hi,

I am working on a feature here with a foreign DP shooting the project. It is his first feature, he has only done commercials before. He has spent two years working in India, where most commercials don't go with sound, or even if they do, it is not sacrosanct to get good sound from the sets.

Today's shoot - simple cafe scene with three guys, all coming in one after the other and sitting on a table. Celing height - 14 ft. 100 year old building. First thing i see in the morning is a 4 bank Kino rigged flat, parallel to the ground right above the round table where the boys are to sit.

Shoot starts, Kino does not get lit. Boy comes in, stands by table talks to guy sitting. Boom is struggling to find space between Kino and boy. Yet, it does because it is an MKH50 with foam on suspension.

Shoot continues. Kino remains unlit. Windows facing west. Wind comes in. Blimp goes on to the MKH50.

Boom in frame. I ask aloud if that Kino is not going to be used, could it be removed please. Key grip steps in to help out, and turns the flaps outwards and high. Some space is now available for the boom.

Later in the evening DP comes to me to ask me why that coffee which I made for both of us the earlier day was unavailable today. I got my chance - I told him 'because you put a Kino right above the table and never even used it once through the day and made my booming difficult.' He is certainly taken aback, but offers an explanation that it was an alternative... I just look at him and laugh.

Just another day in my life as a sound guy...

best

-vin

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Guest afewmoreyears

3 radios my friend.......  a boom bleeder for some life.....  Let him light how he wishes.....

  If you saw it not fired up..... ask them to raise it up, or loose it earlier, but I would just radio this one,  if he fired it up during the close ups, although it is soft light, might be some shadow issues.... maybe not.... It looks pretty high to create any issues for coverage.... the radios might get you through the wide stuff,  maybe the whole deal with minimal issues....

  We're lit or framed out all the time.....  a good boom op with great lav  mounting skills can and does save my ass all the time...... 

  You should always be able to provide good sound no matter how they light things.... Unless noisy lights or ballasts are on top of you....  Boom op should work to solve some of that before filming....    True, sometimes you get boned by wardrobe,  but for the most part fight through with all the tricks in your bag..... 

Never make coffee for the camera crew......  they never make it for us.... :)

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You took one for the team, did the best you could and rolled with it.  Good for you.  By doing so and being polite about it you opened the door to further communications w/ the DP about how lighting affects sound, so the next time he does something that hoses you you can feel empowered to bring the issue up before the scene is shot.  He can still say no, but now you can ask.  Make him some coffee: being chummy w/ the shooter is never a bad idea for the sound dept..

Philip Perkins

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Vin,

you did the right thing. you where diplomatic, did not loose yr cool and set him straight to a degree, by letting him know why he did not get his "cup of joe".

next time a similar situation or setup happens again, the old & inexperienced DP will know exactly where you are coming from.

BTW,

lets see the sound cart, updates please.

good luck.

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