"The Master Class"
Hosted by the Steadicam Guild
Prerequisite: Workshop from a Camera Stabilizer workshop; i.e., Tiffen, Pro, or Peter Abraham's 2 day workshop (see Peter's post in the news/events/workshops thread))
If you are availbe and are interested during this time contact me immediately at Davidgrove@gmail.com
Lead Intructor: Charles Papert
Workshop coordinator & assistant: David Grove
Cost: $850 Paid in full.
Location: Los Angeles
Lunch: will be provided as will craft service items
WHAT TO BRING: Each student will bring their personal camera stabilizer system.
VHF Video Transmitter
Camera with recording capability that has XLR inputs
(we will be using wireless mics.)
Actors: Participants will be shooting scripted scenes with real actors The course description:
You've got your rig, you've done the line exercises, you've chased the pets/kids/wife around the house ad infinitum. Maybe you've even done a few small jobs. Now it's time to really get in the game. The Steadicam Guild presents the Operator's Weekend, an
intensive practical workshop that focuses on the techniques and challenges faced by the working operator through realistic scene studies.
The participants will be presented with shots to perform that duplicate the experience of being on set as much as possible.
Because of the small size of the group, more time will be devoted to finessing the shots than in a conventional workshop. Along the way, the instructor will pass on various tips and tricks as well as critique the results. On the second day, the stakes will increase as the students shoot a scripted scene performed by actual actors.
Along the way, a wide range of topics relating to the working operator will be covered, including:
Axial vs spatial moves, e.g. when to boom rather than tilt, etc.
The importance of footwork
Optimizing the rig for a given shot
Laying marks for yourself; the skinny V, the foot fault line.
The single hardest move for Steadicam and how to master it
Film making nuts and bolts
Understanding the "no fly zone" for pan speeds
Keeping the editor happy: how to deliver shots that are cuttable
Working within the rhythm of the scene
Why wide lenses are sometimes harder than long lenses
How and when to create and sell a shot to a director or DP
How to know what should be shot on Steadicam vs dolly
How to improve a shot that is handed to you
Understanding the ramifications of making changes between takes
Working with talent
How they can help you and vice-versa
Reading body language to anticipate framing
Gaining their trust
Working with your bosses
Translating the director and DP's vision
How and when to ask for another take
What they are looking for from you
Working with the crew
Forging a team with the AC's
How to problem-solve with the lighting department
What the grips can offer you
Patrolling the set for bogies, flares and other assassins
Minimizing the number of takes required to nail the shot
Maximizing the success of the shot while picking your battles wisely
Membership into the Steadicam Guild
-Students that complete the operators weekend will become members of the Steadicam Guild immediately after the workshop.
-Your name and link to your IMDB listing or website will be posted on the Roster section of the Steadicam Guild website along with other top Steadicam Operators from around the world.-You will also have access to the Steadicam Guild Forum which is only accessible to Steadicam Guild members.
If you are interested in attending please contact: firstname.lastname@example.org