My first experience on a Feature Film

In January I had my first experience on a feature film set when I went out to Morocco for 3 weeks. I jumped on this opportunity back in October when we got emailed about it, saying they had a few openings for students on a film that Ben Hodgson was Director of Photography on.

Director David Batty (right) discussing a scene with DoP Ben Hodgson

Director David Batty (right) discussing a scene with DoP Ben Hodgson

The role I applied for was Camera Assistant/Data Wrangler, and until we got to set I was still unsure what duties I would take on. I’ve worked on shorts and music videos as an AC before, but nothing of the scale and professionalism of a feature. This film was shot with two camera units: because Ben is the cinematographer he operated the A camera, and Mark Moreve the 2nd Unit DoP was in charge of the B camera; and each of them had a pair of camera assistants (a Focus Puller and a Clapper-Loader each). With that being said, my place in the hierarchy would be at the bottom of the camera department, as a Trainee.

Setting up at Atlas Studios as the sun was rising

Setting up at Atlas Studios as the sun was rising

On the first day we got there, Ben went on a tech recce with the producers and the director, while Mark and I, along with the Moroccan ACs were tasked with testing the equipment: two Sony F55s with Zeiss Super Speed primes, kitted with Tilta Nucleus-M and Teradek wireless systems. In addition, we had some smaller cameras which could be used as ‘crash cams, or on rigs that couldn’t support as much weight: a Sony FS5 and a Sony A7SII which would go on the Ronin-MX, and a Z-Cam E2 which would go on a Ronin-S. The tests involved shooting colour charts with every combination of the A and B camera and the primes and setting up the additional cameras on gimbals and a cable cam.

What followed on Monday was the start of three intense weeks (we only had Sundays off), with long days shooting from sunrise to sunset. In the beginning, the idea seemed a bit daunting, but I got used fairly quickly to waking up at 6am and returning to the hotel in the evening after 12h workdays. Something I couldn’t have predicted, though, was how I would cope with the weather: the mornings and the evenings were freezing cold, but anytime between 10am-7pm was as hot as the UK gets in the summer (around 25°C).

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On set my role was a bit clearer in terms of what responsibilities I had: helping the ACs switch lenses, filters, and batteries, prepping any rigs with the additional cameras on the gimbals, setting up video village and generally being quick to help the camera department with whatever was needed. As far as the data-wrangling side of the job went, that wasn’t as extensive as I had expected because the editor was on set as a DIT. Therefore, I only had to ‘assist’ him by delivering the media from the camera to him (so he could back up the footage as soon as possible) and by keeping reports with details on which lens was used on each camera, as well as what card he could find each shot/slate/take on. The most ‘demanding’ part in that sense was when they shot an establisher that was sectioned in camera to make it look like they had 4-5 times the amount of extras. For that, they filmed 6 different plates and I had to wrangle a card for each of them because the editor was compositing it already on set, to ensure it would work as planned.

Another highlight of this experience was seeing the great collaboration between departments and seeing exactly how Ben works as a cinematographer with help from the Gaffer Driss Marzak and Key Grip Lahcen Herraf who have some incredible titles on their portfolio such as Spectre, Game of Thrones, Babel, Black Hawk Down. It was really cool seeing how they lit day-for-night, how they used a 12K HMI as a moonlight and how they even created a sandstorm inside a building, and I particularly liked the use of volumetric light.

Controlling the harsh North African sun with butterflies, bounce and silk parachutes

Controlling the harsh North African sun with butterflies, bounce and silk parachutes

The rigs were very interesting, too, especially for how quickly they were able to build a dolly, but I was especially impressed by the combination of the jib and dolly, and how much movement and flexibility that offered. Obviously, these seem like intricate and heavy builds, but nothing stopped the grips from taking them up the rocky hills/mountains where we were shooting. And speaking of bulky equipment, the cameras also came with an Angenieux Optimo 24-290mm T2.8 zoom, an amazing lens, which you could, in all honesty, shoot an entire film with that range without needing other glass.

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Some days were more difficult than others, for instance when we had to shoot at night or when I went separately with the 2nd Unit for pick-ups. It was never fun being in a car on unpaved roads, but when we actually had to climb over hills carrying the equipment, it was on another level. However, about half of the shoots took place at the Atlas Studios, so it wasn’t always that bad. It was quite impressive seeing all the built sets, how real they seemed, and finding out what films had actually used them before including The Mummy, Gladiator and Kingdom of Heaven.

I definitely learned a lot being on set, especially in such tough environments and weather, even when I was just shadowing the ACs and offering them a hand whenever possible taught me quite a bit about set etiquette, too. The fact that it was a multi-cam shoot was also new for me, so taking part in it and observing the different workflow was very valuable. There were also a few times when Ben was kind enough to let me operate the A camera for a few rehearsals while he was behind the monitor watching the feed with the Director.

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It was a great experience overall that taught me a lot, opened my eyes about what the industry is like, and further convinced me that I want to pursue filmmaking as a career.

I love taking Film Students onto a professional set. They get to see how all the Departments work together, to experience the sheer pace of professional filmmaking and are thrown in at the deep end being expected to use their initiative and keep their work ethic as well as their sense of humour right from the off. Often it’s not easy, especially with very long days in a harsh environment. Cristian really pitched in and I’m looking forward to him instilling more professionalism into his fellow students when he gets back to Film School - thanks Cristian!
— Ben Hodgson, DoP