Hand-held Camera Operation

     There exists a phrase the will illicit two different response from DPs (whether they visually express it is up in the air). "I want to shoot hand-held." The reaction from DPs, either aspiring or established: "oh god no," or "that is brilliant; let's do this"--slight hyperbole--you get the point. Those responses largely have to do with the Director's response to this question: why? And that is a crucial question that needs to be asked by both Director and DP. Why can hand-held operation cause such polarizing reactions? Why should the DP have concerns, questions, or doubts? Isn't it their job to do what the Director says? Yes, and any DP that is a true professional knows that, and they will do their job. However, that does not mean they are excluded entirely from relaying any of their thoughts; film is collaborative; it's all about the way you pitch your suggestions, and knowing the boundaries. Ultimately, the job must be done; production will commence one way or another, even if you agree or disagree with the Directors final choice. A large note to be made: if a Director is doing their job properly, the question would not exist; it would have been answered in preproduction. However, if the question was asked, it should be an easy one to answer. So in preparation for what will likely be the  inevitable for any of us as filmmakers, here is a helpful video from an ARRI workshop featuring the wonderful cinematographer, Sean Bobbitt. Bobbitt is known for his more recent works with Steve McQueen: Hunger, Shame, 12 Years a Slave. However, he has been actively working in the industry since the 1990s. In his workshop, he focuses on the types of questions that need to be asked before making the choice to go hand-held, as well as covering at length his process, and suggestions, if the choice is eventually made. Each individuals process may differ, but I find his presentation to be incredibly insightful.

Link: http://www.youtube.com/watch?v=IHcYjKpJb-I
   
      So why would this topic be important? Why would I feel the need to make a separate post about it? For one, I do this partially to provide a source that my be helpful not only to myself, but to others as well. I am also posting it so that I can keep in mind the crucial things to remember when making creative decisions in the future. I want to have the formal thoughts on page so to speak. That way hopefully, I won't make the types of mistakes that are possible. Whether it has to do with hand-held camera operation, or any of the countless choices made in production. Really, I am looking at a few key points that we have already discussed in class thus far: content, form, function. These three elements should form the basis for every question and answer that filmmakers face during the productions. I think that Sean touches on a few of these things quire well; and, for the context of this course, it is especially important with any aesthetic choice made between the DP and Director e.g., hand-held operation.
        To start, we need to think of the most crucial thing of a production, it out ranks crew positions, budget, actors, and any other technical or artistic choice; it is the story. The story should come before every, every decision! Furthermore, every decision and choice made by the Director and DP should serve the story. This will translate to every decision in each department; but their choices all lead back to the Director, and finding the best ways to create their vision which ultimately, serves the story as well. How do we tie this back into the three keys, and in what way do those pertain to hand-held camera operation? Well, we must continue the dissection of the story and how it is told. The keys: content, form, and function, not only form the basis of the story being told: what is the story about(content); how is the story being told(form) e.g. film stock or digital; and, function(the "gift", moral, what you are trying to tell). Those same keys also inform the countless other questions and correlate that much more on how you creatively tell the story. The content of your story will dictate the form the aesthetic takes, and the decisions involved to make it; the two of these will help to serve the function of the story.
     So is there a point in all of this? Yes. And it all does tie back into how hand-held camera operation can make a DP squirm. I think it's easy to forget the questions you need to ask yourself as filmmaker sometimes. What we must always keep in mind is telling the story, and why we make certain choices to tell it. The question for the choice must always be why; if you can't give a honest answer to it that serves the story, then it's not the right choice. So before you as a DP, or as a Director, decide to take the camera off sticks; make sure you both can actually answer that question (both of you will be thankful). Hopefully this whole thing hasn't been too redundant. At the very least, there is a nice video linked.