Working with directors

If I may kick this off: -sync filming can take many forms.  It can be rigidly organised, much like a drama sequence, or at the other extreme can be a matter of grabbing action on the fly.  Wherever your sequence sits between these 2 extremes the director will have some sort of idea of what the finished sequence will look like.  Depending on the nature of the sequence this idea could be rigid - 'there's just one way I want this to look' - or very flexible - 'get what you can before the rhino bolts' sort of idea.  Whatever the situation is, it is vitalvto know in as much detail as possible what the director has in mind for the finished sequence, particularly if there is no chance of discussion during the filming.  There is no point flashing a camera around following the dialogue, for example, when the director wants you to focus on the main character and use cutaways of other action to make the sequence.  Over time you develop some sort of symbiosis with a director to the point where they're no longer necessary and you can be paid their fee too (ha ha).

So thank goodness it's not just me.  The mind boggles at the idea of a handheld lock-off.... no doubt artily done on the end of a 300mm.  Videotape (long ones) are probably responsible for more drooping shoulders and back problems than I care to think about.  Recent innovations in radio mic technology haven't helped.  I'm sure those transmitter units and sync locking devices are getting heavier... or just the soundman's iPod in disguise.