Cinematography

Vincent Turner shots are planned during storyboarding.

Maybe there is a shot you hope you do not forget. It's wrong to write it down they tell you, but you are making art so if you need the shot write it in. There is a whole different way you might look at it during previs, and could forget how you intended the scene to look. The few problems come from it are inaccurate length, and actors watching the directing.

Christopher Phillips what if you don't want to show speech. Is it wrong to write a whole scene with shots? It takes up the page that's the only down side I see. In fact it is storyboarding marker to add in a shot sometimes

Great question and discussion. Ready for one of my lengthy humble opinion diatribes? There are countless long standing rules in film making. Some will argue they can be broken at will, or in some circumstances. Here is a fact: If a writer wants to work effectively with experienced crew, circulate their script to people who have seen and used scripts before, and be taken seriously, they do not put camera angles in a script. NONE. The script is action and dialogue and description of important story elements to be depicted. It is not a shot list or a storyboard. The reasons for this approach are many, but 3 stand out. First, (and this also ties to the 2nd and 3rd reasons ) script format does not have a provision for shots. There is no graceful or useful way to put shots in a script when writing it. Not only that, script format does allow for it once the script is completed and printed; 1 of the 2 reasons there is so much room on a script page is so that anyone holding said script can make copious margin notes of their own. TONS of notes. But later. The second reason there is no shot listed is that the shot list will change. A writer has a movie in their head. That's not the same movie the director or DP have. But even if writer is certain they will personally direct and shoot the script on their own, once they tech scout the location and breakdown the script to a schedule, shots WILL change. The saying "Get everyone on the same page" is never more true than with a script. If you plant the visuals in people's heads in the script, you will create confusion later. The third reason for never putting shots in a script is timing. If you format your script correctly, each page will average 60 seconds on screen and are divided by calculation into 1/8ths of a page ( FWIW, 1/2 a page is still called 4/8ths). Adding unneeded info like shots makes the job of the script supervisor, AD and UPM particularly more difficult. How exactly does one go through the script to schedule a 2 -3/8, 1 -4/8ths and two 1/8th of a page scenes? You can't. If someone handed me a script with shots burned into, respectfully, I would hand it back. You can write : "We see" such and such, then " Another angle " of such and such if and when there is good reason. That's about it.

I think you afford to step out the box and try on your next filler scene to make the entire scene with all shots. You make a perspective that way. When you have it all in mind you have grown a new limb. Then you become the spider.

Karen, the PD stands for “Production Designer”, what I believe is the other point of the creative part in that triangle of Director, DP and PD. Being a leader as a DP is critical with your own crew (cam Op, 1st AC, 2nd AC, etc) but when it comes to the creative part, I think the PD is super important in creating the ambient, the look and the mood of movie.

Oh, HA! I should have known, but I've not had the pleasure to work with a Production Designer professionally (only in film school). #CareerGoals You are absolutely right, though. Truly integral to the look of a film!

Reading over this again, I also think having a clear tone and theme communicated allows for that cohesion you were talking about, Mariano de Luca. For me, that's something that is defined by the writer/director and translated from director to DP/PD. That way everyone is finding ways to express the same theme in different ways.

When a DP considers collaborating with a director it's also critically important the DP identify the director's work style and experience level, as well as what they expect from said DP. Some directors are extremely technical and fingers in the fixings; others have literally no idea how to block a scene or cover it. These are extremes, and most directors fall somewhere in between, but the DP must identify the director's approach for a healthy fit. A control freak director can be very challenging to work for if they aren't brilliant, or are far less than brilliant. A green director is fine for a working DP, and in fact, very common. This will require quiet collaboration and guidance by the DP to help the director steer the ship without detracting from the director's aura of control with cast and crew. Mariano, your comment about the golden triangle of creatives is excellent and a goal for all to remember. I have often noticed great films have a seamless execution where story and performance are melded with the design and photography so that none stands out; they "are" the movie, together.

Royce Allen Dudley You make a very good point! This is why I often suggest falling in love with the work of your DP before pursuing them so you know what they bring to the table and can invite them to flex their abilities.

WooT! SUCH a great resource! Thank you so much for sharing your journey with us!

This is an AMAZING artcle! What a great reflection into how/why you could shoot an entire film with one lens. Thank you for sharing, Tony!So, if you could only use one - which one would you use, do you think?

In flat Super 35 format, 32mm or 40mm would be a good choice for most films... and has been, for most films that shot that way in that format.

Royce Allen Dudley Did you read the blog about the award-winning short that filmed during COVID? The DP used the same glass from Alien and I think she said she only used the one lens. I'm pretty sure she also said 35mm: https://www.stage32.com/blog/How-to-Film-Safely-During-a-Pandemic

Hi, Artemus. Perhaps post on the Jobs board: https://www.stage32.com/find-jobs. That's where members post various "want ads" or a search for creative partners, paid or not paid. The Lounge craft and business forums are intended for topic discussion. Best to you, and best wishes on your project!

Oh, you could also utilize "Browse" found in the upper menu bar and search our membership by location and occupation. Perhaps reach out to a cinematographer in your area. ;)

Thank you so much I will definitely do that!

Hey Charles, this is Karen from the Stage 32 team. I just wanted to let you know I moved your post from Introduce Yourself to Cinematography, as it fits much better there. But feel free to do another post discussing who you'd like to connect with, what you're working on, or what you'd like to work on. Think of it as a virtual handshake! Let me know if you have any questions and all the best to you!

Carlitos way! And scarface, terminator 2 is still one of the most beautifully shot films ever! And no matter what point of professionalism you get to, the godfather is always a film to go back to and learn something from, not to mention check out some old paintings (John singer Sargent) that’s what movies should look like

I loved teaching IB Film because you are asked to show foreign films. I particularly liked The Conformist (1970 - https://www.amazon.com/Conformist-Jean-Louis-Trintignant/dp/B073SGZB2L/r...) and Le Haine (1995 - https://www.amazon.com/Haine-English-Subtitled-Vincent-Cassel/dp/B00A5IZ...)

Moonlight. $1M budget. One camera.

I would say tree of life, children of men and enter the void stood out to me the most

Hi Nick...

""The BAD and the BEAUTIFUL" Robert Surtees Director of Photography. One of the Best!

Peace & BeSafe, Glenn

I think the funniest thing about this post, is that even the picture quality (art wise) of just an old INTERVIEW looks better then more than half the films today

Hi Tom:

FYI... I was LightingDP/Gaffer on Allen's first two feature films "BLEEP"

& "THE BROTHERS O'TOOLE" + the TV Movie "MOOCH Goes To HOLLYWOOD".

Also Dean finished the last few days of filming of "ILSA, Harem Keeper of the Oil Sheiks" which I was Director of Photography/Cinematographer on and I filmed 90% of the motion picture. My favorite 35mm motion picture cameras on these and other films were the Mitchell BNCR & Arriflex IIC.

I still prefer filming on 35mm & l6mm Motion Picture films.

Nothing like the Film/Photographic Image, which is still better than Electronic Video Cinematography. "Douggie" and Vittorio were two of my favorite DP's of All Time.

(P.S. Please feel free to give me a call anytime...prefer verbal communication.)

Peace & BeSafe, Glenn

Hey, Valerie Michele Oliver! Your best bet is to list a job: https://www.stage32.com/find-jobs/add

You can also lookup member based on occupation and location here: https://www.stage32.com/people

Free webinar. Cinematographer's roundtable. Maybe one of them will mentor

https://us02web.zoom.us/webinar/register/WN_iXEFwCK6R1WgbxpsCSMDAw

Laurie Gabriel - Thanks for the lead. Will follow-up!

Karen E Ross - Excellent suggestions! Thanks. It's hard work running a virtual internship program. LOL! I have individual bi-weekly assignment check-ins with them via Zoom, as well as weekly development, plus crowdsourcing & funding meetings. They are the future of our industry. It's all worth it! BTW: Love your drawl "Y'all". Takes me back to my University of Georgia days. Favorite memory: Feeling a cool twilight breeze, sitting under a willow tree on a lawn drinking sweet iced tea while listening to Truman Capote, sitting on a 4-column mansion veranda, reading from one of his novels. I can hear the birds tweeting, and it was so romantic in a way that is purely Southern. Thanks for reviving that memory.

Wow. Thanks for this Dan MaxXx! Hopefully I can make it. May also require the interns to attend. Although, one of them said to me during my bi-weekly check-in with her: "It's been a rough week. You've had us in a meeting everyday." I didn't even realize it. LOL! There's just so much to be accomplished and for them to learn on-the-job. | Oh no. Webinar was yesterday. Missed opportunity. Thanks anyway.

Hey there! I'd recommend Google best video cameras under $1,000, and then see which ones fit what you wish to shoot. Just ensure you can shoot log or a flat profile (for color correction later), good ISO/hi-ISO without too much noise, compatible lenses, shoot 1080, 2K, 4K with varying FPS (frames per second), connector out to a monitor ...

Thanks Lindbergh!

If you buy used, you could get a Sony A7s for $1k