Tips for "Auditioning" DPs

[Dennis Brucks]

I'm a director prepping a short film, I've narrowed down my list of DPs to 5 or so based on hour long meetings but, being very thorough and wanting to be sure I make the right choice, I want to put the candidates to the test!

I've heard of this done before - anyone have any tips/experiences they can share? I'm thinking of staging a short scene in a controlled space and have everything constant in terms of available equipment and the direction I give and see how each handles the situation differently, and in the end see who does the best (in my opinion). Thoughts??

I don't want to spend more than a couple hundred dollars on this "audition" either. The project's going to be shot on Red so it only seems fair & right that this should be as well. And I also want to be careful in not making it seem insulting as if they're not good and need to be babysat, but beyond talent I also want to make sure we collaborate well together.


Thoughts appreciated!

 

[Steve Sherrick]

Dennis, a better idea in my opinion. Review their reels, then have a meeting with them where you can interact one on one and see what the vibe is like. I'm not sure how they would feel about the test/audition thing. Seems a bit strange. I can see what you're after, which is their on set approach, personality, etc but having them take a test may garner different reactions. Let us know how it works out. I'm curious.

 

[David Mullen ASC]

It's hard to stage an "audition" that would be exactly like the real shoot in terms of dramatic scenes, locations, problems, number of pages per day to accomplish, etc. At that point, if you really set up an accurate representation of a full day of shooting, you'd practically have half your short film done just from the audition shoot, so it seems like a waste of manpower and money for just an audition, especially if you repeat it five times. As a DP, I'd probably turn down the job if I had to go through such an audition for a short film.

Hiring anyone is always a bit of a crapshoot, you can't eliminate all variables, you have to embrace it to some degree, the unexpected. If the DP's reel proves he can deliver the look you want, if he has shot at the pace you need (page count and set-ups per day), if other directors can recommend the DP, if he seems in sync with your creative ideas, if it seems like you'd get along, then hopefully that would be enough info to make a decision.

 

[George Butterfield]

Hi Dennis, you can check their reels, and have a meeting discussing the project. Go with the one you think will work with you the best to realize your interpretation of the script. Is this a student project, i.e do both you and the potential DP's have just a few or no projects under your belts? I find it quite amazing that you have 5 candidates based on hour long meetings ... must be fellow students. If it's going to be on a RED, pick the one that knows the most about the RED and the RED workflow ... make that your number one requirement.

 

[Nick Gardner]

I'd just like to point out, that the point is not to make the "best" pictures, it is to help tell the story in a compelling way, within the budget of the production. Look at past work, hire a guy who talks about real things , not buzz words, and who has passion for what he does. If you do that, you'll be all right.

Nick

 

[Peter Strietmann]

I think more than their technical skills your relationship with the DP will be what makes your film good. Communication is the key. I personally would feel very strange if a director suggested I do a test where I am the subject. Their work should speak for itself. Also, even if you are paying them a pile of money, you should let them exercise their creative juices.

 

[Rob Gardner]

Start by looking at reels. Try to look at reels that relate to what you will be filming without being anal about it ("Well I see you do acrobats, but can you do clowns?") Make sure they have worked in the scale and scope of production you will be doing. Pick three to five that you like (less is better). Meet with them to get a sense of how they communicate with you. Get references and listen carfully for even the smallest suggestion of negative comments ("Oh, I guess he would be good for that...") because most people don't like to shoot down another professional unless they were really awful. Then man up and make the hire...

 

[Justin Marx]

I was never a fan of tests and never did well on them, but I have a feature distributed through Lionsgate.. And have shot spots for fortune 500 comps.

Its all about the feel.. You might get an A-list DP that knows more than you and winds up shooting the way he or she sees it..
Find someone you LIKE, there personality, reel, and overall feel of the way they see the direction of your film should lead you.

No test will

 

[Dennis Brucks]

It's hard to stage an "audition" that would be exactly like the real shoot in terms of dramatic scenes, locations, problems, number of pages per day to accomplish, etc. At that point, if you really set up an accurate representation of a full day of shooting, you'd practically have half your short film done just from the audition shoot, so it seems like a waste of manpower and money for just an audition, especially if you repeat it five times. As a DP, I'd probably turn down the job if I had to go through such an audition for a short film.

Hiring anyone is always a bit of a crapshoot, you can't eliminate all variables, you have to embrace it to some degree, the unexpected. If the DP's reel proves he can deliver the look you want, if he has shot at the pace you need (page count and set-ups per day), if other directors can recommend the DP, if he seems in sync with your creative ideas, if it seems like you'd get along, then hopefully that would be enough info to make a decision.

Very valid points. I thought about the drop-out rate like you mention but I reason, hey, if they drop out, then they weren't going to pour enough of their hearts into it to begin with. Maybe it is overkill like you say, but considering our medium is so expensive, and the project means so much to me, I'd rather be safe than sorry!

Is this a student project, i.e do both you and the potential DP's have just a few or no projects under your belts? I find it quite amazing that you have 5 candidates based on hour long meetings ... must be fellow students.

I'll be a student till the day I die! :-D

I think more than their technical skills your relationship with the DP will be what makes your film good. Communication is the key. I personally would feel very strange if a director suggested I do a test where I am the subject. Their work should speak for itself. Also, even if you are paying them a pile of money, you should let them exercise their creative juices.

Are you saying in terms of communication this would start off the relationship on the wrong foot? This is my biggest concern if so..

Justin, can you elaborate on the tests/what was entailed? PM might be better...

Thanks all for responses - additional notes: I examined reels closely & had discussions all with my specific project in mind. I like to think I'm diligent and knowledgeable enough that noone can "pull a fast one" on me, but if I'm wrong, then the whole thing's doomed regardless even if I get John Toll

 

[paulherrin]

First off, it would be impossible to be completely objective in those tests. Doing the same setup, your direction could get better by the end of it, yielding either very similar or better results, thus nullifying any "findings". Perhaps if you did different setups, and didn't worry so much about comparing the images as their style on set, that could prove better, but it would still be hard, and you still have to consider the points others have made. I would not put them through a testing period unless they've never (or hardly) done anything before. Artists don't like tests, and they are easily offended. The best test might be to see who politely refuses when asked to do a test... pick him.

If their work is good, they have trustworthy recommendations, you get along with them, and you can sense their creativity or passion... pick him (or her!).

 

[Joseph Hutson]

At that point, if you really set up an accurate representation of a full day of shooting, you'd practically have half your short film done just from the audition shoot...

Actually , that's a pretty good idea. Tell 5 or 6 individuals to come in and shoot some tests on different day. Tell them is they get the job, they will get paid a high dollar amount, but they need to do the test for free. After the 5 or 6 days of shooting, you don't need to call anyone back, because the film is done...

just kidding...

 

[paulherrin]

you would, joseph. i mean, we were all thinkin it... you just said it. doesn't mean that wouldn't be highly unethical, there's no way i could do that... pretty sleazy. sadly, someone probably has (or they will now, thanks to you!)

 

[Peter Strietmann]

Very valid points. I thought about the drop-out rate like you mention but I reason, hey, if they drop out, then they weren't going to pour enough of their hearts into it to begin with. Maybe it is overkill like you say, but considering our medium is so expensive, and the project means so much to me, I'd rather be safe than sorry!



I'll be a student till the day I die! :-D



Are you saying in terms of communication this would start off the relationship on the wrong foot? This is my biggest concern if so..

Justin, can you elaborate on the tests/what was entailed? PM might be better...

Thanks all for responses - additional notes: I examined reels closely & had discussions all with my specific project in mind. I like to think I'm diligent and knowledgeable enough that noone can "pull a fast one" on me, but if I'm wrong, then the whole thing's doomed regardless even if I get John Toll

If I were the DP this would not start the relationship off on the wrong foot as there would be no relationship under these conditions.

 

[Matt Uhry]

Hi Dennis,

The good DP's in that group have already been auditioning you... If you can only narrow it down to 5 candidates after countless hour long meetings they all think you are indecisive. The idea of doing cinematography bake off films further supports this concept, frost it all with a thick layer of inexperience. Yum.

This is all OK and I'm sure you'll pick someone and make a wonderful film, but pump the brakes on the crazy bus, stop devising sadistic ways to torture DP's, and make your film already.

Matt Uhry
www.mattuhry.com

 

[thomas s stanton]

Well said Matt. My sentiments exactly.

 

[Dennis Brucks]

Ok thanks all for the responses. I think I'm gathering that, considering I posted this on a forum mainly populated by DPs, DPs don't like jumping through hoops. *Check!*

Matt, condescension aside, you're definitely right in they're auditioning me - it's a 2-way interview for sure. I wanted to hire each of these few on the spot b/c we got along so well, aside from their talent, and that's usually a 2-way street as well. Hence the tough decision....

Thanks again, this was valuable, I think David Mullen's method will be more than fine.

 

[Alexander Ibrahim]

I wouldn't want a job that required an "audition" ... especially not a short film.

If you wanted to shoot a feature ... then I might see the need to get some work with a DP before hiring them for a long shoot.

I suggest a commercial, music video or short film, that is an entirely separate project. You take the risk of hiring a new DP, and that short project is your "audition." Everyone gets paid, because its real work, and you can make a decision based on actually working with someone.

For a short though - its sort of pointless.

 

[Peter Moretti]

I think a very important thing to get out there right off the bat is how you both will handle creative differences. I would recommend being very upfront about that you DO WANT input and ARE OPEN to suggestions, comments... even passionate ones, but at the end of the day (and in the beginning and middle) you're the boss. I believe that this has to be put out there. Some people will say "Of course, you're the boss." No prob and move on. But others might not be so willing to accept that ultimately they are in a hierarchically subordinate position. They have to be able to get their minds around this before the get go.

I have a friend in a situation right now where an actor is threatening to leave before the last two days of shooting. The actor is quite experienced and DOES have some very good points. But the fact that he would actually threaten to not finish the shoot is beyond me. I actually had a chance to talk with the actor, and his ideas were very good. But I also told him that there is no way he could just walk off the set and leave the shoot. This is someone's life saving and a lot people's time and effort. And this actor simply cannot be replaced b/c he's the LEAD. Now his retort is that if the changes that had been made to the script were there in the beginning he would not have agreed to the job. But unless it has to do with danger or immorality, I don't think there is any reason to walk off a set. Again, this is an experienced stage, TV and film actor, so you would think he would know better. I've always been told that rule number one on the set is that the director is the boss.

But I think especially when someone see a short film or a rather inexperienced filmmaker, they feel more empowered to pull this type of stuff.

 

[Bob Minervini]

Best advice. Go and have luch with your DOP, have a drink, go and see a painting exhibition, see if humanely is someone with whom you'd like to share your vision. I personally I would think very badly of a director who asks to test me! Sorry but it's like that. Trust me, you can tell a lot of a person over drinks.

 

[David Battistella]

Best advice. Go and have luch with your DOP, have a drink, go and see a painting exhibition, see if humanely is someone with whom you'd like to share your vision. I personally I would think very badly of a director who asks to test me! Sorry but it's like that. Trust me, you can tell a lot of a person over drinks.

Plus 1 on this.

Plus, you should understand that the DP is "auditioning" you as well. Don't get so "director" that you forget it works both ways. You make them look good, they make you look good. If you can't direct an actor for a performance, then it doesn't really matter how it is lit.

Focus on building relationships.

David