benefits of hiring a DP

Y

yummydonkey

I'm currently knee deep in preproduction for my first short. I'm trying to slim-down & pre-plan as much as possible to minimize chaos when the shoot begins.

Since this is also the first time working w/ talents ( actor & sound mixer ), I was planning to take the role of DP/CO as well. It just seems too iffy to throw DP to the mix & try to contend w/ leading 3 strangers.

But as I'm thinking more about the actual lighting plan & camera works, I wonder if it's actually advantageous to snag a DP. Maybe the stress of working w/ a new person wouldnt be as harsh as trying to shoot & direct at the same time. I have some experience with lighting and camera work, but I'm still a novice.

any thoughts or recommendations based on personal experience?
 
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I have never found it stressful working with others on
movies I direct. If you would find it stressful then you
should work with a DP. I happen to love that collaboration.
Just as I love working with audio people, editors, costumers,
make up artists and everyone else on a movie. And I have
worked with complete strangers before - and love that, too.

Not sure if my experience helps but I really don't have any
advice on what would work for you. I think if working with
a DP will stress you then don't do it.
 
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directorik said:
I think if working with
a DP will stress you then don't do it.
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I guess I don't really know if I will like it, since this is my first go. Just a bit nervous, since the whole thing is a big unknown; and on top of that, the entire crew are strangers. But I guess it would be nice to just go for it. Managing a big crew is kinda intimidating.
 
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One of the benefits of having a DP is that you, the director, can focus more on the actors and their performances and get the best out of them while leaving the technical stuff to someone who does that well. As you know a DP is not a camera operator, and as such a good one worth their salt will like to have a say in some of the design and visual decisions made in the movie (that whole colaboration thing). So if you are leaning towards working with a DP you may want to get them in on the pre-production effort pretty early in the game.

There's nothing wrong with you playing both, just know that when you put on several hats and don't have someone to bounce ideas off of, collaborate with and/or work with there is a risk that things will get missed or your vision may lack the richness it could have without an external idea to polish it even better.

As far as crew size goes, though it can be daunting especially for the new director, don't fret - you're the director, the manager. You have the quality and vision and leadership skills to manage your crew. But like Zensteve said, an AD could make life much more easier for you if you are finding things all a bit too daunting.

Good luck on your movie.
 
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Kosh said:
One of the benefits of having a DP is that you, the director, can focus more on the actors and their performances and get the best out of them while leaving the technical stuff to someone who does that well. As you know a DP is not a camera operator, and as such a good one worth their salt will like to have a say in some of the design and visual decisions made in the movie (that whole colaboration thing).
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Hmm, in that case, do you think a lot of DPs would take offense, if I bring them into production and say, "Ive already drawn up a detailed storyboard, I just want you to be a Grip+CamOp. Light the scene to look like this, and follow the camera movement plan like that".

Do you think it would seem too insulting to have such a restrictive guideline from Dir? Don't get me wrong, I'm open to his input to the vision, but I already have a very set plan.
 
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It seems at this stage, for this project you should
be the DP.

Some DP are fine just doing what the director says,
some like to be creative and have input into the project.
You may find that a DP who is willing to work for free
on a short is looking to add to their reel. they want to
have creative input so they, too, can learn and grow.
Simply being the operator is not what they are looking
to do for free.

So if you can find a camera op this seems to be your
best option for this movie.

Managing a small crew can be intimidating, too.
 
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yummydonkey said:
How many of you guys share director/DP/camera op duties? How uncommon is it? Is that just too much to handle at once? I wonder if I should just focus on direction, but I also do like working with a camera.

Also, sorry if this is another oft-asked question: is there a good analysis + instruction resource for lighting? It's definitely one of my weakest area ( among other weak areas ) of expertise.
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In my experience, at the zero-budget level, this is quite common, in fact, normal.

Yes, it is too much to handle at once. Directing and camera-op don't really conflict with each other too much. DP and camera-op don't really conflict with each other too much. In my opinion, however, directing and DP-ing definitely conflict with each other.

Both of their jobs are supposed to be done at the same time. How are you supposed to set up lights, while working with your talent? Unless you have unlimited time, something is going to suffer.

I see too many low-budget shorts that look gorgeous, but just don't feel right -- the acting is off, the timing, the pacing, I dunno, something is off. Ladies and gentlemen, the director has left the building.

I've chosen the opposite. On my ultra-low-budget production, I chose to spend my time working with the actors, and I feel like we got some damn fine results. However, I won't be winning any awards for cinematography, to say the least.

So, take your pick:

A: focus on directing, cinematography be damned
B: focus on cinematography, let the actors direct themselves
C: be Superman, and somehow do both, even though nobody else ever does, successfully
D: find someone talented to work with, to take one of the loads off your shoulder

By the way, you left one out -- producing.

2001 Productions said:
CF is exactly right! I've had to shoot every one of my films. I'm good at it, but HATE it for exactly the reason he stated: No time for the actors!!! It's incredibly frustrating for me AND for them, and their performances DO suffer, absolutely!

Current project, I had a DP for one weekend - it was HEAVEN! Then his TV series got picked up and he was gone. Aaargh! Never again will I do both (course, I've said that every time).

Don't know how Steven Soderbergh and Peter Hyams do it...
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If you can hire a DP, hire a DP. In my opinion, this is a no-brainer.
 
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I see no disadvantage in hiring a crew member who knows what they're doing. There's no point in just having lots of PAs milling around, because they'll get in the way when you don't have the jobs to give them. If you hire a DoP you've also got someone who should be able to operate well, and probably light the scene himself too, leaving you a lot more time free to deal with the actors.

I agree with the others about finding a 1st AD too; you can give him the instructions rather than running round and finding people yourself. I think it's also good to have someone else doing the timekeeping and deciding when to move on to the next shot, as it's too easy to get caught up in the action as a director and find you've got a perfect take of one shot but nothing else in the can.
 
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Wow A lot of great thoughts!

I guess I can't help but being greedy. Much of the excitement has been from trying to replicate the film I've pictured in my head. There is a definite fear that DP might just hijack much of the visuals I've planned. I know it's getting completely irrational; I just gotta get it in my thick skull that collaboration is part of the process. I guess it's a common problem: trying to do too much myself.
 
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yummydonkey said:
Wow A lot of great thoughts!

I guess I can't help but being greedy. Much of the excitement has been from trying to replicate the film I've pictured in my head. There is a definite fear that DP might just hijack much of the visuals I've planned. I know it's getting completely irrational; I just gotta get it in my thick skull that collaboration is part of the process. I guess it's a common problem: trying to do too much myself.
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Don't beat yourself up.

If you want everything in a very specific way then you
need to be the DP. You can find someone who is a camera
operator and someone to help you move the lights around.
But you won't be looking for a Director of Photography.
There is no problem being "greedy" or in total control. If
that's the way you want to run your set, then that's the
way you should run it. The professional thing to do is tell
everyone you "hire" up front you will be in total control of
every aspect - that you are open to input, but that you
already have a very set plan and don't want to deviate from
it.

As you said, this is your first short. No better way to learn
than to do it. Do it YOUR way. If this method works for you
then continue making your movies that way. If you decide
some time in the future that you want to actually collaborate
with a DP then you can give that a try, too.

For me, I have found the creative collaboration with the DP
(and others) to be exciting, eye-opening and makes me a
better director. You may find it to be just the opposite. So
don't collaborate this time, maybe not even on the second
or third project.
 
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