Re: A crewmember's tips for attracting indy crewmembers
 

Whoah! Thanks for the feedback, guys! When I wrote this back in april it kinda drifted away without much of a response. I'm stoked that you guys found it worth reading.

Ian, thats an excellent point about set safety. I'm guilty of loads of infractions there. Not endangering other people since, as a grip, safety is one of my jobs. But rather, within the grip and camera departments we've been asked to do (and have done) some pretty dodgy things.

Chris, If you want to turn it into an article, let me know how I can help.

cheers!


I'm gearing up to produce/direct my first feature. Can somebody point me to "a crewmember's tips for attracting $20k in string-free funding"? heh.

Re: A crewmember's tips for attracting indy crewmembers
 

Absolutely brilliant and top stuff. This is a definite "must read" checklist.

All it needs now is an appendix of that thread on correctly interpreting "craigslist" type adverts. :-)

Andrew

Re: A crewmember's tips for attracting indy crewmembers
 

I've found this post incredibly informative. Actually, I've went a head and printed it out. lol <3

Re: A crewmember's tips for attracting indy crewmembers
 

There is more good stuff in Andrew's post than in a dozen "how to make an indy film" seminars, and thanks to DVINFO it is all there for free. Good work team!

Re: A crewmember's tips for attracting indy crewmembers
 

BTW, if you ever move to the USA Andrew, you are just the kind of person I want to work with, and yes, even for free - this from a long timer who is way-over giving it away.

Re: A crewmember's tips for attracting indy crewmembers
 

Okay, I have a few things to add if you're tying to attract a Steadicam operator to your production.

1. Get us on board as soon as possible. We know how to get amazing moving camera shots. It doesn't matter how good your DP is, we can plan it out better.

2. Don't ask for something too simple. Why feed an extra head if you can get the exact same shot on a $100 DIY dolly? I had a DP ask me to do a 20 foot move on perfectly smooth tile. And that was the only shot they needed me for. This leads into my next point.

3. Don't waste our time. If you only need 2 Steadicam shots per day, you're not utilizing what you have very well. I usually give one day of free operating, after that, it's my normal day rate. After I started doing that, people tended to get a better idea of how to plan.

4. Give us time if you want to go crazy. If you're tying to block out a four minute oner, half an hour is not enough time. I usually plan on an hour of blocking for every two minutes of scene. And make sure your actors hit their damn marks! If I can do it with 70 Lbs of stuff strapped to me, your actors can do it too.

5. Give us a break! We're not sweating to put on a show, it's hard work! Give us a few minutes to rest and get some water after a long take.

6. Tell us what camera you're using and stick to it! Weight matters a lot. Dslrs need a huge steel cage around them to balance properly on most decent rigs. If your camera doesn't have the right AV outs, we often need to bring/rent gear to convert it to something we can use. cameras with big sensors also need a wireless focus controller. If you don't tell us you need it, you're SOL. And if you suggest an 18' whip, I'll walk off set. I've almost done it before.

7. Give us space. We need space to set up gear and keep it out. I often need to quickly grab something from one of my cases, and if I have to pack them all back into my car after setup, it's going to cause a delay.

8. Give us space, Again! I don't care how important you think you are, quit looking over my shoulder at the monitor while I'm trying to operate. The only two people that should be within 7 feet of me is my spotter and focus puller, and my focus puller is often in video village.

I might add more later, but I'd love to have a sound guy and a Jib op add their lists!