Nightmare productions

[Jay Gannon]

After a week of absolute hell I wonder if anyone else has nightmare stories to share. Heres mine:

(No names etc etc)

Times are tight so decided to go on a shoot with an indy crew that I didn't know. Flew to England with all my gear in tow. Over the course of a 5 day shoot I gradually slipped into hell.

Shooting RED, the Steadicam Op shows up on day 1 with a Pilot and gets angry when the gaffer and myself (Seemingly the only 2 on set with brains) tell him that he cant fly the red on the Pilot. He walks off set when it transpires he doesn't have access to a larger rig. Great start.

To cut down on costs it seems the producer has only rented 2 CF cards even though I stated 4 in our discussions, thats ok I brought some old 8 gb's I keep as an emergency, we shift production to 2k as a result.

Day 1 finishes and I go back to the hotel.

Day 2 starts, 1st CF comes to me via a runner who happens to have a cup of coffee with him that he promptly spills over my 3 week old Macbook Pro. Great, not my main machine or anything but just bloody great. I end up having to replace it later that evening.

Day 3 and we need to get the steadicam shots done, production still hasn't found a new op so they decide that because I had mentioned I had done the workshop during the argument with the previous op that I can do it, they rent an Archer and I end up as a steadicam op. Shoot, offload and shoot again. My back hurt after that day (I am NOT a camera op, just a passing interest in knowing what's going on around me on set)

Day 4 goes relatively ok.

Day 5 half way through producer emails me (While I'm onset) with the proverbial, we're having cashflow issues we don't know if we're going to be able to make your payment deadline, I don't know if we can cover the laptop etc etc. So now I feel half dead, Im out of pocket on my travel accomodation,and a brand new macbook pro, and generally just wondering why the hell I took the job in the 1st place.

I know such is life, but beware of taking on any productions without a full face to face preproduction meeting.

 

[Philippe Van Horebeek]

Didn't they tell the steadicam operator that he had to shoot on Red ? And did the operator knew the limits of his rig ?

 

[ericyoung]

I feel for you Jay.

Some hard lessons learnt!

Please don't let it put you off England. But probably worth checking out the production company credentials and insurance before flying out (that must have been quite pricey on it's own!) in future.

Eric

 

[Jay Gannon]

Yeah expensive mistake at the end of the day. No apart from that I actually quite liked the trip, so much cheaper than where I am living at the moment. Still wondering about moving to London and taking a permanent position somewhere, freelancing is getting stressful nowadays.

As for the Steadi Op, yep he knew he was shooting on RED and nope he genuinely thought that he was going to be able to fly a RED on it. His words were "sure its not much bigger than my FX-1" I gave up at that point.

 

[Lewis-M Soucy]

Poor you man!

I just shot a short in London a month ago with a free crew of 20 I never met before. It was bliss and so much fun. We made a great film.

Don't let this one put you off. Seems like you're in the good spirit and these guys aren't. They're the wrong ones, not you.

Keep up the nice way. It's the only way.

 

[fREDeric ChAMbERlAnd]

Thanks for sharing,

The Steadicam op you had cannot be one if he "genuinely thought that he was going to be able to fly a RED" .

The first thing you ask (as a steadicam op) when a new job calls in is what camera they use. If that's the answer he gave you, I really feel for you.

It makes the whole steadicam operators community look bad, including me, having guys like him on sets, indy or pro.

Cheers and hope for you the next shoot is a stellar one.

Fly safe.

 

[Jay Gannon]

No I get the impression they rang around and took the lowest quote regardless of what it was. They seemed to have budgeted for me and a good gaffer but that was about it, I've been in touch with the gaffer (who doubled as as the key grip but I don't mind that on a smallish production when someone is experienced in both) but he was slightly cleverer than me he got a 50% up front deal =)

 

[David Baumber]

I would hold that footage until payment is made in full!

 

[Philippe Van Horebeek]

As for the Steadi Op, yep he knew he was shooting on RED and nope he genuinely thought that he was going to be able to fly a RED on it. His words were "sure its not much bigger than my FX-1" I gave up at that point.

Indeed a 'no-operator' (plucked from the street maybe ?). People with knowledge and skill can be a blessing on a set. I'm sorry you met the wrong ones.
Better luck in future !

 

[James T Mather]

Jayt - keep the rushes until you get paid.

 

[Grinner Hester]

I once fell into a urinal while shooting Bob Dole at a urology convention.
Does that count as nightmare?

 

[conrad gaunt]

Yesterday was interesting..

Although the production and crew are great, and all going fine.. Five of my Zeiss ZF primes were left in a case by the side of a road in Leeds UK. They'd been moved behind a wall to get them quickly out of shot, but then got forgotten as we moved. I realized when I opened my boot at Leeds train station. A frantic rush our journey then ensued across Leeds, making sure I stopped at every traffic light !! And not knowing the exact route, I finally arrived to find the case gone. After a quick discussion with two lads stood exactly where the case was left, they explained a green van had just removed an oven from their garden, maybe they had it. Then, seeing a green van pulling out of a parallel street, another discussion began with occupants, which was then disturbed by someone from a nearby tattoo shop asking "have you lost something?".. anyway, I'm one lucky boy.. he was a great guy, and i have some grey hair now.. then I get home at midnight (hour drive) and I'm asked "you know I still have your chargers?".. bollocks, I'm in Liverpool at 7.00am.. followed by "I should have mentioned it earlier, I didn't think you'd get off so quick" !!! ..


Not sure if this counts.. there was a production in central London last year, in an Ibix (something like that) hotel, where the director was three hours late, and they didn't have permission really to shoot there.. that wasn't the bad bit, the bad bit was watching the four nice metropolitan police officers kicking the living **** out of a drunk foreigner while another restrained his girlfriend during a sneaky cigarette break outside.. I shouted "why you hitting him", as pedestrians walked by him.. "he's not resisting you"..the neck of one of the coppers twisted around and a gargoyled face mouthed the words "fuck off" and guestured a direction for me to go. I stood my ground, they didn't bother me, then they left, with no charges made to anyone. The lad collided with lampposts and walls, had his eyes poked and his head punched. Welcome to London I thought.. where the streets have no shame.. wish I 'd had the camera frankly

 

[Zakaree Sandberg]

i have had a few... but i dont want to relive them...

 

[dino g]

unless it is a multinational corporation, get payment before you turn in the drives. moreover, if it is a travel gig, they must pay for all expenses up front or i stay home.

those are just my rules, sorry you experienced this...i am sure you will never have to again and perhaps those reading this now have learned as well.

i have left set more than a few times with all the media, it is funny how the pa's come very early the next morning with a magic check, i guess that elusive signature was not so hard to get after all.