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Do you think this director has the right attitude when it comes to filmmaking?

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  • Do you think this director has the right attitude when it comes to filmmaking?

    Basically I worked under a director for two feature films now, and I'm amazed how fast he gets these things done. After finishing one feature, about a six weeks later, I contacted him, seeing what's new with him and how the feature was coming along in post, and he said he was already in shooting another and just started and said I could come help out on that one if I like.

    I asked him when he wrote the script and he said just right after he finished the last feature. So he already wrote a whole feature length script and casted it and is now shooting it six weeks after the previous feature? Wow, I thought!

    I told him I was impressed and he said he just wants to direct as many features as possible for his resume.

    Where as I am the opposite and am much more picky, and definitely want a lot of feedback in my writing and keep refining it a lot. I also spend a lot more time in pre-production compared to him, trying to come up with as much of a solid plan as I can but perhaps I take too long.

    I was wondering if he has the right attitude and it's better to do as much as you can like that, or can writing and directing as many features as possible in that quick of amount of time hurt a person and his budgets and time possibly?

  • #2
    I don't think there's a right way and a wrong way - do what works for you. But you can probably learn a lot from working with him and seeing how he does things. You may find some aspects of his approach that you want to work into how you do things.
    Screenwriter and script consultant:


    • #3
      Well his approach is very different than mine, as he will only have a DP light a scene once, and shoot it multicam style, where as I am use one camera, and different lighting set ups from shot to shot. But since his next feature is only going to be shot in five days, perhaps this is a sign that one camera is too slow on a shoots where time is of the essence. Do you think it's worth getting three cameras and only doing one lighting set up, and that is a better way to save time?

      The biggest disadvantage of this though is that it makes booming harder.


      • #4
        Why does it make booming harder?
        Screenwriter and script consultant:


        • #5
          Well basically if it's a single camera set up and you are doing a close up shot on an actor in a conversation, the boom operator is free to hold the boom mic on that actor for the whole take, without having to swing the boom back and forth between the other actors, worried about making noise, or not making it to the next line on time, before an actor says it.

          Where as with the multicam set up, since all the cameras roll at once, the boom operator has to swing back and forth between all the actors on every take and hope to hit each line in time, without making noise, because all the actors are on screen, at the same time, with the mulitcamera set up. So you can see their mouths move when they talk and have to hit each one.

          Where as with the single cam set up, the boom operator is free to hold the mic on one actor at a time during close ups and OTS shots, since you only see one of the actors mouths moving at a time, you don't have to hit the others, accept for in their takes.

          Plus the DP told me it's hard to light a mulitcam scene and not catch the boom's shadows, as oppose to a single cam set up, and thereby also making booming harder, lighting wise.


          • #6
            The booming issue is simply something you need to learn to do.
            Screenwriter and script consultant:


            • #7
              Oh I can do it either way, it's just easier with a single cam set up, but I am okay doing it multicam. However, if I am behind the camera on this one, someone else has to boom and I worry how well they will do.

              However, on this last shoot the DP had a real problem lighting a multicam set up for the boom, and it was very difficult for him to light a scene so that all three cameras could not pick up the booms shadow, which resulted in not the best lighting he said.

              So is it true then, that multicam makes for not the greatest lighting, cause you have to get rid of the boom shadows, more with multicam?

              But as for booming though, for my next short film I want to be able to direct without having to boom cause I would rather be looking through the cameras while directing. However, it's very difficult to find a good boom operator. Is there any places I can look where I would be able to find a good one, rather than just putting adds out anywhere?
              Last edited by ironpony; 04-28-2018, 01:51 PM.