10:52am September 3, 2014

Sherlock S1 Behind the Scenes

mid0nz:

CLAPPER LOADER, aka 2nd AC (Assistant Camera)

The 2nd AC ensures the smooth operation of the camera department as a whole. These are a few of her duties on digital productions: she maintains shooting records; changes out lenses, mounts, media cards and camera batteries; operates the slate; and supervises camera department trainees, interns, and production assistants (PAs). etc. In the UK they call her a clapper loader. In the US she’s known as a 2nd AC.

CRANE OPERATORS

Crane operators in the film industry are specially trained film crew. They’re usually grips and provide camera support.

DOLLY TRACK

The dolly, its track, assembly and operation is the responsibility of the dolly grip.

…the dolly grip is a dedicated technician trained to operate the camera dolly. This technician places, levels, and moves the dolly track, then pushes and pulls the dolly and usually a camera operator and camera assistant as riders. If the dolly has a moveable vertical axis, such as a hydraulic arm, then the dolly grip also operates the “boom”. If both axes are used simultaneously, this type of dolly shot is known as a compound move.

DOLLY

This is the camera dolly on the set of TBB being dragged backwards without riders. A nifty thing about the dolly is that the seats are often lazy susans and spin around. This is so the camera operator can use their glutes to stabilize their shots and help save their shoulders and back. Yes, that shot is smooth due in large part to somebody’s ass!

FOCUS PULLER, aka 1st AC; DOLLY GRIP; & CAMERA OPERATOR

THIS! This is how a tracking shot works. It’s a dance, a freaking dance I tell you!

The dolly grip pushes the camera operator (seated) along the track while the focus puller/1st AC (in front) does NOT fall on his ass while walking backwards over a track (missing any cords that might be in the way) and focusing the camera with the power of his mind and one arm! The guy in front of the monitor is wrangling the cords and is therefore saving the focus puller and dolly grip from serious injury. In this shot from TGG director Paul McGuigan is watching what the camera is capturing on a remote monitor. The mic is in the car and he’s listening to the dialog in headphones.

Here’s the whole thing from the focus puller’s pov. In this case it appears that he does have a (hooded) monitor to look at. Most of the time focus pullers don’t.

HANDHELD

Hand-held camera shots often result in an image that is perceptibly shakier than that of a tripod-mounted camera. Purposeful use of this technique is called shaky camera and can be heightened by the camera operator during filming, or artificially simulated in post-production. To prevent shaky shots, a number of image stabilization technologies have been used on hand-held cameras including optical, digital and mechanical methods. (x)

The ASiP cameraman is outfitted in an Easyri g Cinema 3.

Cinema 3 gives you the advantages of both a handheld and tripod mounted camera; i.e. with the speed and mobility of the handheld camera you can still achieve steady pictures. It also has improved steadiness because of the integrated hip and back support. (x)

Here’s DP Fabian Wagner wearing one in Hounds:

PRODUCTION DESIGN

The assistant is covering up the light cord so it’s not obvious on camera. Why? The team installs the light every time they shoot because it’s covering up a blue historical marker.

STEADICAM

Steadicam is a brand of camera stabilizer mount for motion picture cameras that mechanically isolates it from the operator’s movement. It allows for a smooth shot, even when moving quickly over an uneven surface. (x)

Steadicam was invented in 1975 by cinematographer Garrett Brown. Stanley Kubrick used it extensively in The Shining. Steadicam operators are a bit special. They usually own their own gear (upwards of $100,000 worth!) and have to undergo intensive professional training to be certified. It’s one of the most difficult jobs on the set and here’s how it works.

Production background. So cool.