Cinematography

A) Just wing it - make up shots on the spot

Personally, I often find myself in the "just wing it" category when it comes to creating a shot list. I enjoy the spontaneity and freedom that comes with making up shots on the spot. It allows me to adapt to the environment, capture unexpected moments, and embrace the creative energy of the moment. While this approach may not be suitable for every project, in run-and-gun filmmaking scenarios, it can bring a sense of authenticity and freshness to the visuals.

C) Write shots right on the script / using brackets

In certain situations, I prefer to write shots directly on the script or use brackets to indicate specific shots or camera movements. This approach helps me visualize the scene and communicate my intended shots to the cast and crew. By incorporating shot descriptions in the script, it ensures everyone is on the same page and allows for better coordination during the shoot. It's a useful technique when working on projects that require careful planning and when I want to ensure a particular vision is captured.

D) Take photos on site / then print / use as storyboard

There are times when I find it helpful to take photos on the shooting location, print them out, and use them as a storyboard. This method allows me to have a tangible visual reference and helps me organize the shots effectively. By physically arranging and manipulating the printed photos, I can easily communicate my ideas to the team and make sure every shot aligns with my vision. This approach works particularly well for projects that demand precise visual planning or involve complex scenes with specific shot compositions.

It's worth noting that as a filmmaker, I adapt my approach based on the specific project, shooting style, and the creative direction I want to pursue. These options provide flexibility and allow me to choose the most suitable method for each unique situation I encounter.

Every shoot should be approached with a shot list, be it written, visual (photos or drawings) or in your head. It is an organized approach to accomplishing the art, craft and vocation of what you are doing either for passion or for a living. A shot list is the outcome of actually thinking through the story, visualizing it, and writing down your thoughts in an organized fashion so that the ideas can be conveyed to others. A storyboard is a visual representation of the shot list.

My approach varies a lot depending upon what the project is. A scripted studio shoot has very different needs than a documentary that will require a 20 day hike into the location.

For a scripted project an overview of my general approach is:

-Read the script for the story.

-a few days later after the script has played in and out of your thoughts, reread the script and make brief notes of images that come to mind.

-the next day reread the script making detailed notes and drawings of visualizations that have come to you.

-meet with the director discussing their view of the story and visuals including general look and feel (some specifics), a colour - contrast - brightness arc of the story, techniques used. This should also include a discussion of needs for the locations and studios. Often includes stick figure drawings of shots and lots of hand waving.

-apply the director’s ideas and vision to your ideas to come up with interim shots.

-meetings with the director will continue as everything is fine tuned or changed.

-on location scouts, take full 360˚ shots of the every location with people in the approximate area where the actors will be hopefully around the actual time of day the scene will take place. If possible have the stand-ins go through the lines to see how it reads in the location.

-as the locations or sets are locked in, develop accurate plots of the shots and the lighting.

-constant communication with the director

-apply the AD’s shot list for each day to the plots to be able to prep ahead of the shot being shot.

-distribute the camera plots to everyone, the lighting plots to the G&E crew .

-the shot list, camera plots and lighting plots are the fallback position in case a better approach does not come up while on set. your planning is your safety net.

Lots of steps left out and glossed over. Planning is the key to making things run smoother and be better. If you wish to wing it, only do so on self-funded projects since it would be professional incompetence on anything else.

Your approach, Andrew Sobkovich, is very professional. Thx for laying out your process.

Never A...never ever ever A lol.

I usually use Frame Forge.

Agreed, Andrew Sobkovich. Tone, pace, style, emotion come to mind. Could you provide an example for us to chew on?

Great share, Justin. I had the distinct honor of working as a production assistant on the night Scorsese shot the tracking show into the Copa Cabana for Goodfellas. We worked for hours to get that take 5 times. It was amazing to watch happen (in between water runs, helping to pull cable and locking down traffic). But shots like this can elevate a film so much. Thanks so much for sharing.

That's awesome Sam. #jealious What an experience and experience to have under your belt.

Andrew Sobkovich I'm assuming your referring to psychological shooting. Who's left or right of frame and how shots can transition as the power dynamic between characters shift. I'm sure Studiobinder has a video covering that too.,

Great share!

Waw that's crazy! I love it!

Who made the soundtrack?

The film score was composed by Bartosz Bludau. It was a very satisfying collaboration.

Awesome! I loved how old it seemed

Glad you like it. :-) The whole film is a homage to the so-called "Bahnhofskino". In the 1970s there were cinemas in Germany near the train stations that showed B and C movies (similar to the American "Mondo" film). I tried to capture this style.

Thank you for sharing this. Such a fun thing to watch. I love the colors!

This is a great share. Thanks, Stephen!

I remember reading about it and watching a screening. Not only a fantastic film, but great story behind it as you pointed to Stephen Folker.

I've never seen Blue Ruin, but I've added it to my list! Thanks for putting this on my radar, Stephen Folker.

Thank you Stephen Folker !

You are welcome John January Noble ! Have an awesome day!

Thanks, Ashley!!

Geoff Hall Thank you for posting this. Metropolis is an amazing movie, with a story that is as relevant and thought provoking now as it was. The effects must have been awe inspiring when the picture was released.

This is the kind of picture that has the ability to drive home the impact that our medium can have. The strong mixture of social commentary with art creates an enormously effective experience for the viewer. Just watching this for the cinematic art is incredible but misses what the total experiences offers.

If anyone has not seen this picture then do watch it. Entirely worthwhile. I’d be very interested in the thoughts of anyone here seeing it for the first time. Might be that I am adding intensely rose colored glasses to my memories.

Andrew Sobkovich rose coloured spectacles? Never! I just wish I could travel back in time and see it in a Berlin cinema when it was released (January 10th, 1927) and also watch the audience’s reaction to it. I love the film and I also have the version with the extra reel found in Argentina.

Andrew, is this your favourite Lang film?

Geoff Hall The rose colored glasses view is mine, but I’ll share :-).

I’m very much a science fiction fan. The imagination, the visions, in so many books and stories is wonderful. A great escape that I’ve used since shortly after I learned to read. As such Metropolis is my favourite Lang picture by far, in a class all of its own. Certainly parts of his contemporaneous “Woman In the Moon” has some wonderful scenes and is apparently the origin of the now universal countdown from 10 when launching a rocket but as a movie it is way too long. Lang’s movies are worth watching because of the expressionist art that always sneaks onto the screen to varying degrees.

Truly amazing how masterful these original craftsmen were. Metropolis remains a masterpiece. And, for my money, Buster Keaton's The General and Sherlock Jr. are still masterpieces that can teach us everything. Thanks, Geoff!

Sam Sokolow thank you kindly, Sam. Yes, I love Metropolis and its pioneering spirit. Let’s make a movie and figure out how to do it, along the way. Love it!

Interviews with "John Wick 4" cinematographer Dan Laustsen on these two links:

https://youtu.be/7Fv-p3q4WJo

https://youtu.be/PmtQ4rHi9v4

Thank you Florin Sumalan

Beautiful! I love the big sweeping establishing shots that they use. Thank you for sharing, Florin Şumălan!

Very cool - it was a terrific watch. Thanks for sharing, Florin.

Absolutely! Interesting to see even big Hollywood movies use tiny, cheap cameras, for quick shots, mostly, but still they look good enough to blend in to the rest of the shots!

Love this site.

Nick Waters - that makes two of us!

Stephen Folker thank you !

This is such a cool site! Thank you for sharing, Stephen Folker!

Barry Lyndon is a beautiful movie. Wish people could see it projected again.

These video essays are usually quasi informative. The text and quotes in this one reminded me, a lot, of the American Cinematographer magazine article on Barry Lyndon. For good reason.

Thankfully the ASC is quite good at achieving articles. Please read the article which is mostly a great long interview with the DoP John Alcott. Much discussion of “natural” light as depicted in the picture. The magazine used to do long in depth interviews with the DPs and was very informative about cinematography, not merely trending toward being another fan magazine. The magazine was very worth reading as this Barry Lyndon article shows.

https://theasc.com/articles/flashback-barry-lyndon

Andrew Sobkovich, thanks for sharing the article. I'm going to give it a read today. :)

I LOVE THIS MOVIE! Thanks for sharing Stephen!

Makes two of us Nathan Woodward! One of the greats!

Barry Lyndon is a perfect movie. Beautifully shot.

Looking forward to this class!

Cameras are cameras and the principals are always the same. But as far as computer workflow and post is concerned, be careful.

Educators probably want to stick with digital gear that's relatively current. Current file types and bit rates and lens mounts. Digital changes really fast and learning a 7D menu is pointless since nobody shoots on them anymore. It would be like teaching everyone to use the Digital Bolex or an AJA Cion.

If you want to teach a U.I. the Blackmagic pocket cinema cameras are a good place to start. Used ones are cheap. Also the Sony line is getting amazing these days. At least NLE's will recognize the files.

Hi there Frank; thanks for posting!

I can tell you that your Lenses are more important than your camera. That being said, that's a mighty fine camera.

Thank you for this critical perspective, M LaVoie

I heard that more often, Nathan.

Hello! I haven't worked with the BLACKMAGIC URSA yet, I would like to know if any of you have handled this camera. It has the PROS and CONS, but it's for outer planes.