M8 Sound Blimp

[dcuthbert]

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Hi all,

 

I'm about to shoot some stills on a film and was wondering what others, if any, had done in a similar situation when silence was more important than anything else.

 

Having a look at the various sound blimps available, many don't seem too user friendly with the leica and RF concept. I could use discreet shutter but looking for any nuggets of wisdom that others might have.

[PasMichiel]

M8.2 and M9 is more like the M4 and M6.

[jaapv]

An upgraded M8 is the most silent variant, but maybe it is possible to use an M3 and film?

[dcuthbert]

Film is a no go these days. The movie industry has moved on and will not tolerate film anymore, no matter how quickly you turn it around.

 

will see how i go with discreet mode, possibly using some homemade scarf setup or something.

[wstotler]

Different approach. Better than a blimp, IMO. There is a lot of "down time" between takes. What we did for the feature film Able was shoot the scenes and after the scene re-stage some key points of the scenes for the photographs. Gives the photographer a chance to see how the scene plays out while filming is happening. Lets the photographer work uninterrupted on set with just the actors, who have now worked the scene. Keeps actors working (to help lift between-scene boredom while they're waiting for the next setup). Gives the photographer the opportunity to get in there and shoot from great angles and reposition actors, as needed, to capture shots with the lighting. Just coordinate with the director to get information about what to shoot (mood, scenes, goals of that particular shot) and for him/her to level set with the actors/crew about the additional shooting. If you need to get "working" shots of cast and crew, there is plenty of time as they're setting up to shoot before sound goes hot. With this approach, they'll probably appreciate that you're **not** a variable when sound is hot and the scene is live. That's my experience, anyway. Maybe it works for you, maybe not. Just work closely with the director and you'll be OK--he or she will be *very* busy at time of shoot, but you should meet and coordinate prior to the madness. He or she has a shot list and goals in mind--and he or she should work with you in advance to level-set, like he or she will level-set with the cinematographer. The director will also level-set with cast and crew on your behalf, so you're a part of the team and the actors will work for you, too, so you can capture the director's vision in stills.

 

Cheers!

Will

[dcuthbert]

Thanks Will, very helpful indeed!

[wstotler]

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As a quick follow-up, here are some additional considerations, if you haven't shot with a production before:

(1) Actors may want you to shoot them in costume and then provide photos to them for their use.

(2) Actors/crew will know you're shooting and may ask when you're going to deliver photos to them. Etc.

(3) The makeup artist/hair stylist may want photos.

(4) You may want to use some of the photos for your own use in your port. Or, to talk about the production online, etc.

 

All of this should be cleared through the director and/or producers--and spelled out in your written agreement with the production company. A verbal agreement isn't enough. And, when you get asked for photos, you can kick it back to the director for clearance. (Or, you'll know what the deal is regarding release so you can communicate that directly.) This agreement will detail what rights the production company owns--likely all of them--and what crediting you are entitled to--crediting when in use, crediting at the end of the film, etc. Don't have one? Get one. If the film is commercial, expect no control of the photos. Everything will likely be embargoed. This is for good reason as you may shoot something that doesn't make it into the final cut of the film, something you shoot may give away a plot point, etc. And, they may need the photos to be under their complete control, with full rights assigned to them, in order to sell the film with an unbroken chain of ownership. It's just the way it is. People working on the film may not understand the legalities, just that the "producers" won't let them have that snapshot they want. It's how it is. BUT on the flip side, the agreements may specify release terms and what you can use for your port/online, so that works in your favor, depending on the kind of production. Also, the actors and crew may have permission to have stills, at the discretion of the director. But at no point will it likely be you making that decision.

 

However, if you're shooting on a less formal (or non-commercial) production, get your role and information about the ownership of the photos in writing so you're clear and they're clear, and you don't accidentally shoot something they don't want shot or release something you shouldn't have released, provided you have that latitude.

 

The key thing here is to get clarity about what you can do with the photos once you've taken them. Is it just delivery to the production company or do you have more latitude than that? And what leverage do you have to communicate that to people if they ask, so you're not the "bad guy" who won't provide people with shots.

 

Cheers!

Will