British Cinematographer issue 51 - Imago

British Cinematographer
Covering International Cinematography
www.britishcinematographer.co.uk
Issue 051 ––– May 2012 50
Working hours
It was clear from the recent GBCT poll that quality and
training are the lifeblood to our industry, and GBCT
members are passionate about the core values and
professionalism that we all hold dear. The standards of entry
are still being held high, with every new potential person
joining being scrutinised in great detail by the board.
However, it is safe to say that our skills as highly
trained crew members are potentially being lost due
to production staff lack of training themselves. Some
crews are being booked not because they are the
best available, but because they cost less per day than
someone else, or they can perhaps throw in equipment
at no cost. It is hard for some experienced crews to
compete with this, and what needs to happen is a
recognition of the skills and talent that a properly trained
team will produce. It will ultimately cost LESS to hire a
well-trained crew, as they can overcome pitfalls and
challenges that inexperience will have to constantly
work out on the set.
One of the factors that is quite alarming is the
lack of knowledge of the law concerning the 11-hour
turnaround. Due to the nature of filmmaking and the
diverse locations we travel to, this can mean a great
degree of travel before and after a working day. It can
often mean driving for more than a few hours a day in
addition to the actual “work” day. The rules set out by
law in the UK and Europe are clear
The Working Time Regulations 1998
10. (1) An adult worker is entitled to a rest period of not
less than eleven consecutive hours in each 24-hour
period during which he works for his employer.
This doesn’t mean a wrap at 8pm and then back at 8am
the next day if on location miles from anywhere! Travel
time needs to be taken into consideration, and if shooting
somewhere, say 100 miles away from base, it is best to
schedule that in or, better still, have the possibility of a
hotel ready for them to stay in to save a long drive whilst
tired. 100 miles is, say, an hour and half by motorway,
more if starting in the countryside. So perhaps three hours
of driving each day leaves not a lot of time to rest.
There have already been many cases of film crews
falling asleep at the wheel and killing themselves and
others, so let’s help the production staff be made
conscious of this legal ruling.
51
Time... long working hours on
set can be a massive problem
elsewhere.
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British Cinematographer
Covering International Cinematography
www.britishcinematographer.co.uk
Issue 051 ––– May 2012
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