David Frederick, SOC, will be heading up an SOC sponsored panel on November 4, 2010 at the Createasphere Entertainment Technology Expo at the Burbank Marriott.  The respected operator, DP and Steadicam operator’s lengthy list of credits include projects as diverse as Driving Miss Daisy, Sons of Anarchy, The Soloist and Dance Flick. David is a member of the Society of Camera Operators and was President of the Society from 2005 through 2007.  He is an active participant in his professional community, serving as an Executive Committee Member for the Cinematography Peer Group of National Television Arts & Sciences; as a National Awards Committee member for the National Television Arts & Sciences; and is a member of the Steadicam Operators Guild.  He produced the SOC Lifetime Achievement Awards from 2007-2009.  Dave attended Hofstra University, and is a graduate of the prestigious Tisch School of The Arts at NYU.

 

Q: Can you tell us a little about the panel you’re leading?

 

Dave: Have you ever seen a shot in a film, television show or commercial where you wondered, "how did they do that?" Well, this discussion can hopefully provide the answers. We assembled a team of industry experts who have done these shots and can answer questions on their work and give best opinions on any other shot that you can come up with.

 

Q: Do you often get the opportunity to work on projects that demand shots like the ones we will see in November, or are they rare opportunities?

 

Dave: The shots that always catch folks’ attention are usually very long or visually complicated and they are infrequently attempted because of time and budget constraints. However, every day we come up with seemingly short, simple-looking shots that take a great deal of planning and talent to execute properly. Only with perfect execution do these shots stay simple-looking and not stand out. It is our number one job as camera artists to serve the story and be transparent. It is to our fellow industry colleagues that we look for notice and appreciation of these efforts.

Q:  What do you have in your bag of tricks that helps you nail those hard to get shots? (e.g. tools, assistants, cameras, rigs, etc.)

 

Dave:  These days, the bar is set exceedingly high when it comes to making exciting, eye catching and impressive shots. As a result we come to the job with an expanded knowledge and tool kit. First off, it is the story that calls for the shot, a suspenseful scenario that has been written to provoke the director and cameraman. Then the real trick is getting the talented craftspeople assembled to carry it off. It is first and foremost the people with mad skills who bring these shots to the screen. Then we pull in the remote heads, technocranes, jib arms, dollies, steadicams, hand held, cablecam rigs, helicopters, blue screens, and then marry them all together. Of course, if needed, we can additionally enhance it all in a CGI world to create a spectacular shot that really tells the story in a new and original fashion.

 

Q: Do these shots sometimes fail?

 

Dave: Yes. The main reason would be that one or more of the necessary elements was not considered and implemented properly. All elements have to be synchronized and orchestrated and this can take time. Time is the element on all productions that is in the shortest supply. The axiom, "not enough time to do it right but always time to do it again" holds true when productions try to rush these shots and not devote the proper time needed.

 

Q: What is the MOST outrageous shot you have ever done?

 

Dave:  That’s a tough question. It's purely subjective, but several shots I have done compete for the classification as MOST outrageous shot. Of course, you have to define what you mean by outrageous. Is it outrageously dangerous? If so, then a handheld shot standing on the landing skid of a helicopter dressed as a NYC rescue cop pulling a rescue litter with a stunt woman out of the frigid East River in NYC while flying under the Williamsburg Bridge. That was nuts but it was a kick butt shot. Or, doing a step on and walk off of a shaky tulip crane with a Steadicam following an actress up some stairs knowing that one slip or false move could severely injure any number of people involved. That was a great, dangerous shot but there was no other way at hand to accomplish it. I am very pleased with outrageous shots that I've done recently on Sons of Anarchy with a Steadicam mounted low mode on the tail end of a motorcycle sidecar circling another motorcycle rider in close proximity at pretty daring speeds.

 

Q: What can we look forward to on the panel?

 

Dave: The discussion amongst the panelists and the audience on the topic of "How'd you get that shot?" is going to be fascinating, eye opening and inspiring for all who participate. I am keen on hearing the answers and also to field the questions from this crowd of industry colleagues.