Becoming DP: Camera dep. or Grip?

[simona]

Hello,

I am young filmmaker who is trying to figure out the best route to becoming a DP.
Now I am aware that there is no such thing as one-route but I am trying to decide what department
should I start learning the craft from, from the Grip side or the Camera?

I want to join the local union here in Toronto but cannot figure out which dept to steer to.
Ive mainly have worked as 2nd AC so far but realized that I am not learning anything about lighting which slightly upsets me.

I am very interested in lighting, shaping, giving character and texture to it but I am still amateur. Now Ive recently have done couple of Grip shoots which I enjoyed more doing but am not sure I can physically handle doing the work for long periods of time, eg. weeks (I am 5'2 female, but strong).

What advice can anyone give me?

What are the cons and pros of working on either of the departments in the union?


I would highly appreciate any feedback. Thank you!

 

[jax_rox]

Have you thought about electrics?

How many shows have you 2nd AC'd on? At what sort of level? Are you not learning lighting simply because the level of stuff you're working on is not one where the lighting is incredibly complex anyway?

On set, learning of something like lighting is through observation. You observe what the DP is setting up, and the image the effect creates. Working in any department, you have many more important things that take priority over 'learning' lighting. You can learn how to set up a light, and where to put it, but setting up a light is very different to having the eye and ability to use that light, and tell your crew where you want that light to go for the effect you want.

Again, most learning is by observation, and asking questions in downtime. I find ACs are generally closer to the DP, and the DP is more accessible to ask questions of, at least at the right moments.

If you're interested in lighting, I'd suggest electrics. I've known many who are DPs or aspiring DPs who have/are work(ed) as Grips, Gaffers and Electrics and ACs. No path is the correct path. They all lead somewhere.

A note on joining the union: You generally need some decent experience to do so. More importantly, however, the union is not a talent agent. Joining the union does not automatically entitle you to work, and does not automatically mean you'll start getting work. It simply means that if union work comes your way, you are allowed to work on it, and the production must adhere to the union rules in regards to your treatment.
I'm not too sure about the union system in Toronto, but I know it can be against union rules to work on non-union sets, which is something that seems pretty detrimental to those at the beginning of their career.

 

[Sweetie]

Now I am aware that there is no such thing as one-route but I am trying to decide what department
should I start learning the craft from, from the Grip side or the Camera?

I don't see the Grip side giving you as much benefit as either the Camera or the Gaffing depts.

The usual line to DOP that I mostly hear is 3ac -> 2ac -> 1st ac -> Camera Op -> DOP.

The other line is do DOP work and hope like hell that you can attach yourself to a Director that is going places.

Good luck with your journey.

 

[simona]

Thank-you so much for your feedback. Much much appreciated.

I think I will try and take the approach of an electric and work myself up through the gaffer's dept.

 

[David.rhsc]

Well, in reality if you can get experience on both sides of the equation that is the best option from a learning perspective. That can confuse producers sometimes though, as people tend to think of you as someone who does the job they met you doing. In all honesty though, there are probably an equal number of DPs who started as grip/electrics as there are who started as ACs.

I wouldn't worry about going union right away. There should be plenty of non-union work for you to find, get more experience, refine your skills, maybe even find a specialty that you want to focus on. When you do join, you'll be joining as a specific classification, and there are rules about changing classifications (moving up the ladder) and such. Also, unless you have contacts that are hiring for union jobs, then joining is going to cost you quite a bit of money compared to the day rates you are getting for non-union work.

Having said that, there's nothing wrong with getting your days as a 2ndAC and then joining the Local at that classification, beat on some doors until someone lets you in, and then work your way up the ladder the old fashioned way.

Immerse yourself in it, camera, lighting, production design, read up on how the script supervisor does their job, learn why directors want to use a certain shot at a certain time, and so on. You don't have to master these things, but you'll want to know how to interact with the people who have in addition to mastering your craft over time.