Does a director have the right to re-assign duties in the crew?

Like for example, I found a steady-op, but I don't like his lighting style personally, so I got someone else for lighting, and the steadiop can stick to that duty. But the steady op was under the impression that he was to be credited for full DP since I knew him first, and he was a DP in other films. Or say how if the sound person doesn't show up, you want to assign someone else in the crew to do the audio?

Does a director have the right to re-assign duties, or is everyone suppose to do the duty they were picked for originally, and that's that? If it is out of line to do that, then that's fine, but I'm not sure.

Thanks.
 
Like for example, I found a steady-op, but I don't like his lighting style personally, so I got someone else for lighting, and the steadiop can stick to that duty. But the steady op was under the impression that he was to be credited for full DP since I knew him first, and he was a DP in other films.


If you told him he was going to be your DP, then that's a bit rough. If you told him he was going to be your steadiop, then there's no reason he should be wanting to do your lighting.

If a Director asked me to DP their film, and I rocked up on set to find someone else DPing it and myself Camera Operating, I'd probably say thanks but no thanks.
 
A steady op probably won't get good audio results. A boom op probably won't get good visual results. Stick the crew members as closely to their original position as possible, especially if they are experienced. It doesn't matter if you don't like your DP's "look". Email him some clips of films you want the film to look like, and shoot it regardless of how the film looks. You need to get something done, and you shouldn't waste a second. Like Jax said, people don't like to change positions that are given. You can get an inexperienced person not knowing what they are doing, or an experienced person doing a job lower than the one they currently do, which can be degrading and humiliating to some. Best of luck, H44.
 
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Like for example, I found a steady-op, but I don't like his lighting style personally, so I got someone else for lighting, and the steadiop can stick to that duty. But the steady op was under the impression that he was to be credited for full DP since I knew him first, and he was a DP in other films. Or say how if the sound person doesn't show up, you want to assign someone else in the crew to do the audio?

Does a director have the right to re-assign duties, or is everyone suppose to do the duty they were picked for originally, and that's that? If it is out of line to do that, then that's fine, but I'm not sure.

If it's a union shoot, no. No one can reassign duties, particularly if it's not their job. For instance, if the production is a DGA signee, you cannot get the PM to step in for the First/2nd AD, or for that matter, redesign their role. You cannot get a grip to move an item that is the responsibility of the set decorator... and so on.

Though, I have to assume this isn't a union set since H44 is on set...

It's usually the duty of the department head. If you're replacing a dept head, then it's usually down to the Production Manager, Producer, First AD (usually in that order, at least how I see it) to switch and replace people. I'll also assume you're talking about a feature or a short film and not a TV show. On TV shows, while my knowledge of these is limited, the director wouldn't have the power to make such a call, though the First AD usually would.

More below:

If a Director asked me to DP their film, and I rocked up on set to find someone else DPing it and myself Camera Operating, I'd probably say thanks but no thanks.

You can get an inexperienced person not knowing what they are doing, or an experienced person doing a job lower than the one they currently do, which can be degrading and humiliating to some.

I see this happening repeatedly on local sets and it drives me mad. I see crews bring in a DOP which also brings in his Red camera kit. He gets to set, they reassign him to Camera OP duty and assign the DOP role to someone else. For the life of me, I don't know why he doesn't walk.

Now you're talking a small shoot. On my return to filmmaking, the first set I walked on, the sound guy didn't turn up. The Gaffer stepped up and handled that role, on top of his usual duties. Now, this was a small set with no union rules, so other people stepped in to help where needed.

You can replace people, and if a situation arises where you should replace a person, you should. If you find that you're in a situation where you have to replace a team member, take a good hard look at yourself later and work out how you caused that problem in the first place. If you find yourself blaming others, you still have some growing and learning to do.
 
Does a director have the right to re-assign duties,

No.

or is everyone suppose to do the duty they were picked for originally, and that's that? If it is out of line to do that, then that's fine, but I'm not sure.

Look, you aren't coaching a little-league team. (Then again...)

If you bring someone onto a professional set because of a certain skill set, and with the understanding that s/he is being hired to provide those skills in a certain role, then that is where that person shall be. If s/he isn't executing your vision, then it is your job to DIRECT to achieve that vision. If you bring someone on board and s/he refuses to work toward your vision then replace him/her.

Look, you can't seem to get anything actually produced. Stop worrying about how to run a large set. Grab a camera and a couple of people and make something. But then, that's been suggested in several of your recent threads... and I wasn't getting back into this again...
 
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I see this happening repeatedly on local sets and it drives me mad. I see crews bring in a DOP which also brings in his Red camera kit. He gets to set, they reassign him to Camera OP duty and assign the DOP role to someone else. For the life of me, I don't know why he doesn't walk.

I can only assume this is to be able to sneakily use the equipment for free, whilst using a DP who understands lighting.
It's pretty low, however as I've always said - buying a camera does not make you a DP. Realistically, these productions should bring on such people as Cam Ops from the start, or invest in hiring the right equipment in conjunction with the right DP.
 
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Well basically I had two guys so far. One guy who I thought would make a good steady-op, the other I thought would make a good DP. But the steady-op was under the impression he was going to be DP as well, and the DP was under the impression he was going to camera operator as well. I guess I should have been clear about their job TITLES from the start. I saw one's short films and liked the photograhpy enough, and the one I knew as a steady-op from the feature I acted in earlier this year, but he was also the DP on that movie as well.

So I asked them both to help out without really telling them their titles, I guess. I just said what I liked about them, and they both thought they were going to do all the camera duties and lighting duties I guess. I brought in one after the other though. I guess if I got them both around the same time, it would have been more clear. I didn't think of getting the steady-op guy at first, but his schedule was freed up so I jumped on the opportunity.

It kind of feels like re-assignment maybe, but on these shoots where you can use anything and any specialist you can get, I guess I feel I should jump on surprise opportunities. I mean that in the most fair way. But I guess I like Red camera example, was trying to jump on the steady-op for opportunity.
 
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So I asked them both to help out without really telling them their titles, I guess. I just said what I liked about them, and they both thought they were going to do all the camera duties and lighting duties I guess. I brought in one after the other though. I guess if I got them both around the same time, it would have been more clear. I didn't think of getting the steady-op guy at first, but his schedule was freed up so I jumped on the opportunity.

I for one cannot see why you're not already in hot demand. You should demand a premium for your organizational skills. I have to assume that everyone jumps to get involved with everything you're running?

Oh, wait. I re-read that. Scratch that.

I totally understand now. You're so busy with so many projects, you lose track of who you've brought on. I getcha now.

Oh wait... scratch that.

Seriously H44, WTF?

It's not a reassignment, it's a complete failure at the management level. User error. Please replace and press any key when ready. Can you please change the title of this thread, "Can the director screw up a situation so bad that he needs the decision making power to cover his ass" ??

I have one question, who was the genius who put you in charge of hiring in the first place?

Edit: You know, I never understood the need for a First AD to yell and scream at people until now.
 
You broke rule #1 when it comes to geting crew and cast:

BE HONEST AND CLEAR.

Apperently you lack the overview and creativity to say:
"Hey guys, I like your lighting and your steadycam style and I believe it would make a very strong combination if the 2 of you work together. Are you willing to try and see how it works out?"
Instead you are asking us, whether you are omnipotent enough to have absolute power...


(I think you were too busy recruiting too must crew to make sure you have enough when someone drops out, resulting in dishonest and unclear communication that can cost you your rep and crew.)
 
Are you directing/producing this movie? If so, then you have the right to fire or do whatever the heck you want with your crew............ Within legal limits of course. And if they don't like it, they can quit. That's one of the many beauties of being in complete control of your film.
 
Well I didn't mean to create confusion and I should have been more clear about the job titles. I didn't think that if I got a steady-op that he would assume control over all the video related duties on set. But lesson learned.

Thanks people. I will be more clear next time.
 
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Are you directing/producing this movie? If so, then you have the right to fire or do whatever the heck you want with your crew............ Within legal limits of course. And if they don't like it, they can quit. That's one of the many beauties of being in complete control of your film.

Filmmaking is a team effort, not a dictatorship. Those working under a director are people too. They have been trained in specific fields, and are hired to do their job. If you put someone in charge, and they don't know what they're doing, that's a problem. If you put an experienced person at a job lower than the one they are used to, or one they do not understand, they can feel degraded and upset and can quit. "Firing people and doing whatever the heck you want" isn't the job of a director. A director's job is to manage the creative aspects of a film. That means bringing your vision to life by communicating your vision to the different departments on a film (which on indie sets is often just a few people...). "If they don't like it, they can quit" shows signs of immaturity of a director. You shouldn't fire, or drive people to quitting.

Sure, directors should take the lead and control those working under him/her. No arguing against that. But they should not dictate and "do whatever the heck they want". Filmmaking is both a business and an art. You have to balance the two in order to make a film work.

You should provide those working under you with proper gear, food, breaks, transportation, water, bathrooms, and if on a set for a long period of time - lodging. You should be honest and straightforward, as well as having people do jobs they were trained to do. If you are doing a quick shoot with some friends, sure, you can shift things around. But if you have trained people working on set, and you reassign their position, there's going to be serious issues. A focus puller being a DP and a DP being a focus puller? Bad idea. Boom operator being a focus puller? Bad idea.

A good director has a clear vision, can communicate that vision to his crew, keep peace on set, provide workable conditions, all while staying within the financial limits of a producer.
 
Yeah that's fair. I helped the steady-op shoot his movies, and when I got to the set, he had me do things I was not experienced with like operate a camera, far beyond my skill level, and do sound mixing and recording on set, which I haven't really done before. Tomorrow I am jib operator for him, which I've never done before.

So I thought maybe since he does this to his crew (which I don't mind, I just want to get on set, and make connections), it was okay to assign duties accordingly back, to people who also want to make films and get out there. Perhaps I looked at it the wrong way, and should have asked for a specific field. And I've never gotten any food or transportation on a shoot, and that would have been nice, as I've done it for my crew before.

As far as getting someone to do sound, I just don't have anyone, so I am hungry to find someone who is willing. But I will try to get someone who knows about it.
 
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Yeah that's fair. I helped the steady-op shoot his movies, and when I got to the set, he had me do things I was not experienced with like operate a camera, far beyond my skill level, and do sound mixing and recording on set, which I haven't really done before.

That shows signs of immaturity. That steady-op shouldn't be making people do work they are not experienced in. Operation of camera and audio equipment is something that should be done by someone experienced in the audio or visual department. I can't believe that he would do that, but then again I'd really have to be there to understand exactly what's going on.

So I thought maybe since he does this to his crew (which I don't mind, I just want to get on set, and make connections), it was okay to assign duties accordingly back, to people who also want to make films and get out there. Perhaps I looked at it the wrong way, and should have asked for a specific field.

I hope this isn't a revenge sort of thing. "You did this to me, so now I'm going to do it right back!", but I don't think that's what you're doing.

Ask yourself:

IS HE CAPABLE OF WORKING IN THAT POSITION?

That's what it all comes down to. Answer that and replying will be much easier.
 
No I am not doing this out of revenge at all. I just feel that since I have filled different positions for him for free, I would like to him to return the favor back. No revenge, just reciprocity. In fact all I want for him is to be a steady-op, which he is and his own gear, and quite good with it so far. He wants me to operate a jib tomorrow next, which I have never done before, so I am asking him in return, to do something he is skilled in at least.
 
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Yeah that's fair. I helped the steady-op shoot his movies, and when I got to the set, he had me do things I was not experienced with like operate a camera, far beyond my skill level, and do sound mixing and recording on set, which I haven't really done before. Tomorrow I am jib operator for him, which I've never done before.

So I thought maybe since he does this to his crew (which I don't mind, I just want to get on set, and make connections), it was okay to assign duties accordingly back, to people who also want to make films and get out there. Perhaps I looked at it the wrong way, and should have asked for a specific field. And I've never gotten any food or transportation on a shoot, and that would have been nice, as I've done it for my crew before.

As far as getting someone to do sound, I just don't have anyone, so I am hungry to find someone who is willing. But I will try to get someone who knows about it.

There's a difference between amateur and professional.

If you have a choice and avoid doing what the professionals do and mimic the amateurs on purpose, you're putting in a lot of work to set yourself square in the rank of amateur. There is nothing wrong with doing that. If that is your aim, then all the power to you. Have fun with it. Amateurs don't need to know how to be professional. They don't need to know how to make a professional product in the end.

You're still making excuses. There is really nothing to link this thread to what you're talking about. Not even vaguely. You've screwed up, got 2 people in to do the same job and you're wondering if the director has the power to reassign people, though all you want to do is to get a steady cam-op to return the favor where he's got you to switch jobs every chance he can.

If you always do (make excuses) what you've always done (blame others), you'll always get (no professional work done) what you've always got (no professional contacts). It's your life. Do with it what you want. It's yours to throw away if you choose.

On a side note, totally unrelated to this thread (really, unrelated ;-/), how do I nominate someone for the Darwin awards?
 
I personally like to get everyone doing the opposite of what they like to do. For example, if I have a boom op with no idea how a camera works, I will assign them to being a camera operator, particularly if it is a difficult shoot.

Similarly, if I have an actor who cannot swim, I like to throw them into the pool, fully clothed without diving support.

It makes for a more entertaining shoot.
 
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