Working with Video Production Crews as a Director of Photography or Director

Soon, most of the nation will be getting back into production work. Some areas of the country have been back at it for months now and it is quite possible that we may be the busiest we have ever been due to the huge lapse in production and the need for fresh messaging and new content to be created. It is a good time to look at the big picture and maybe the most important aspect of production. How we treat one another on set.

Video production and filmmaking can be a very intense, stressful endeavor, but it can also be deeply rewarding and a heck of a lot of fun. Though actors may garner most of the attention and fame, it’s the production team that are the silent heroes of every production. As a Director of Photography, you are the crew chief for your camera and lighting department. I’ve worked with many incredibly talented Directors of Photography that could not lead their crew, and the production was prone to dysfunction.

A production team can be likened to a sports team, or even a group of fellow soldiers using the military analogy. It can often feel like we are in a war against time constraints, weather, budget, equipment breakdowns, fatigue and lack of clear purpose. The difficulty can be magnified tenfold if your crew isn’t pulling on the same oars and helping further the director’s vision. So how do we assist our video production crew to function as an efficient team and make the production a positive experience for all?

First, work with the attitude that every person on set is equal and valuable. Sure, we all have different roles to perform, but there is no room for ego and looking down on anyone else. Laying 100 feet of cable in the dirt may seem like a lowly task compared to an executive producer position and reserved for only for interns and grips, but the lighting and filming cannot happen without it being done. We are all parts of one whole. The funny thing is, the intern you may barely give the time of day, could some day become the director considering hiring you.

Second, establish clear communication early on set, and state clear goals for the day’s shoot. This is accomplished through a brief meeting with crew before set up begins. This gathering immediately communicates that everyone’s presence and efforts are valued. It also sets the tone of the day, and communicates essential information regarding set up time, safety issues, artistic vision, schedule and overall expectations. Remember, not all of the crew has seen call sheets, scripts, shot breakdowns and storyboards. They may not have a clue what you and the director are trying to pull off.

Third, encourage and value the input of your crew. They have been hired because they have experience and bring a specific skill set. Realize that your gaffer my have a far better idea on how to light a scene than you do. You can’t know it all or do it all. Being rigid and inflexible on set limits the potential of the scene and story. Be vulnerable. Be open to suggestions. Admit you’re not sure. It’s not a sign of weakness, but strength. Lay your ego down at the entrance of the set and it’s probably best to not pick it up again until maybe you are handed your tenth Cinematography Oscar.

Fourth, water and feed your crew. Want to see an excited crew turn grumpy fast? Fail to provide coolers of ice and beverages especially water, on your Florida shoot in July. Or coffee on your exterior Minnesota shoot in December. Trust me. I’ve seen it happen. Now it doesn’t need to be a ten-table catered buffet. Not all budgets are created equal. But, at the very least, provisions should be made for the safety and well being of crew regarding craft services and meal breaks. Bottom line, if your crew feels like you are taking care of them when it comes to meals, drinks and snacks, they will give their best efforts.

Fifth, keeping your set atmosphere light and fun goes a long way in making your production run smooth, reducing stress and anxiety and leaving a favorable impression for future productions. We all have a tendency to take ourselves and our work too seriously. If any career ought to be fun, it should be this one. We are telling stories, real and imagined. If mistakes happen, embrace them and don’t shame those who make them. Sometimes you can’t move forward without problem solving and that often means failing until it’s right.

Keep in mind that we work in a very temporary business. Without sounding overly pessimistic, we often fall victim to the tyranny of the urgent. When on a shoot, that is the most important thing happening and its “importance” can trump treating others with kindness, respect and dignity. Let’s face it, most of our productions are probably not saving lives like a doctor or first responder. A month later, we are on to the next thing and then that shoot is the most important thing happening. Can any of us even recall what we were working on exactly six months ago to this day?

Finally, when the shoot is complete, it is important to be grateful and thank your crew for their hard work and efforts. This is customary to do at the end of the shoot but practice the Golden Rule and thank crew members before the wrap is done and even throughout the day. It means much more this way. A big part of saying thanks is paying your crew efficiently and promptly. Too many productions rush to hire, rush to shoot but don’t rush to pay. Freelance production is one of the few careers where it is “acceptable” to delay payment weeks and often months after employment.

Following these simple guidelines go a long way in working with the team that is helping you and your production look good. In the end, we are all human beings following our passion and trying to make a living at it. The bottom line? Treat others the way you would want to be treated. True in life. True in production.