I have the H5 which I don't believe tethers with Phase One. I use Lightroom for tethering or the Hasselblad program if I have to. Thoughts?
Juanito,
That’s the thing, that everyone works differently with different equipment and expectations. Some people will use almost any camera, or software suite, sometimes multiples, so . . .
In todays world, I’d say be complete and professional.
Not that a dt should be a grip and a gaffer, or let other things get in their way, but the more you can do the more it’s appreciated, but that’s the way the world works.
We all appreciate people that give extra effort and work as a team.
The next thing is what everyone mentions, be crazy insane about protecting the files and understanding the photographers or dps’s workflow. Naming files, folders, having precise backups, etc. etc. Nothing is more frustrating than having a dt hand you three drives and they don’t match 100% exactly.
Remember who you work for.
Not that this pertains to you Juanito, cause I don’t know you but . . .
We are all on set to serve the client, but you work for the photographer/dp/producer. No yelling across the room, “Hey out of focus”, or tossing your business card out to the client(s). It’s not my studio’s role as photographer/producer to source crew for clients, or limit a crew members option to get new work. That’s not being paranoid, it’s just being respectful and trying to keep distractions low.
A friend of mine has the best quote, (this isn’t exact) but anyway . . . Photography is a team effort but except for clients is not a democracy. It’s not that the photographer or producer can’t and shouldn’t be respectful, but in the end, everything lands on them, hopefully when it’s good and especially if it’s not.
The dt is usually surrounded by clients and the last thing any photographer wants is to hear a dt tell a client their creative opinion while he/she is working it out. So if you see it going technically off track, collaborate with the photographer or producer first.
I guess I’m different because we furnish all of our own equipment and will give the dt extra time in pre pro to become accustom to it. We also go through what is expected and personally I want a dt to know every software suite from c1, lightroom, dpp photoshop, bridge, etc. That may seem like overkill, but I can give reasons as to why, though not on the inter web except if you can learn c-1 you can learn all the others quite easily.
In pre pro be honest to the photographer about what you need. Extra cables, batteries, enough cards for backup, clean computers, drives, chargers, everything in duplicate, sometimes triplicate.
Know the project, where the electrical power is coming from, whose responsible for generators, fuel, stingers. It’s always the 10 dollar cable, or something small that can derail the production, so preparation is king.
Prior to production, when we test a camera, motion or still, we go through a simulated disaster situation. We’ll shoot until the batteries die, or yank the tether in the middle of shooting, try to crash the computer, everything that can happen when you don’t expect it to happen.
Keep or try to keep one computer or I pad available to produce a jpeg that can be mailed out in the middle of a busy session anywhere. It’s rare not to have an AD or client ask if an image can be e-mailed back to their home base and there is a lot of ways to do this, but being prepared is close to the top of the list.
The dts we hire and continue to work with can make issues non issues. A good photographer will know and you’ll be the first on the list.
Now this one is easy, but be positive and upbeat. Projects start with high expectations and a great attitude goes a long way to keeping people at ease and confident.
The best compliment I get from client(s) is after a shoot is if they say, “wow you have a great team”.
IMO
BC
