Cinematography

At best this info is really sketchy very very basic stuff. In the video there is a suggestion of capturing light to dark within a scene. This is not ISO, but in fact latitude. Different aspects of exposure. The statement that one sets the iris and then sets the ISO is certainly an inventive method of working, not anything that anyone shooting moving images or a series of shots that will be cut together in a scene would do as the individual shots may not match. Ignoring so many other half-truths, there is no mention of what correct exposure is. Without a concept of what is correct, this video makes no sense, other than having been posted online.

ISO, in this context, has nothing to do with Greek words, it is the second competing statement in the video that it is the initials of the International Standards Organization, just as the ASA version that is interchangeably used in some places is the American Standards Association. to go into an explanation of something and present two entirely different versions when only one is correct is just a waste of time

This video is a fine example of “internet wisdom”.

I see what you're saying, Andrew Sobkovich. Is there a YouTube video you would recommend? Or a video series? I'm quite fond of Anthony Q. Artis who does a few series on Lynda.com, but I use his videos on lighting, not camera techniques (or in this case, the camera's interpretation of light).

Definitely drop a few links if you've got 'em!

Kay, sorry but I have no links as I rarely watch such videos. I commented upon the above video because an acquaintance specifically asked me about it and what I watched was woefully lacking in what it was trying to explain. Just because someone posts a video on a subject, says nothing about the content or veracity of said video. Watch the videos all you wish, but reach out to people who actually know before acting on the content. The positive intent in posting a video does not mean the poster fully understands the content. They had the necessary skills to be able to post a video but that doesn’t mean they fully understand the subject.

I met my acquaintance for coffee and soon had them pointed in the right direction about exposure and ISO rating as part of the question of what is correct exposure.

So I have been doing film for a few years now but I am just getting into the larger industry here in Hollywood, and one of the things that I have noticed is that roles and items are much more specified out here than in the film world in Colorado (which is where I worked prior). Do you mind if I clarify and then give you my thoughts? If you don't mind, then what would you say is a completed storyboard as a baseline? What does it look like, and who traditionally develops that? I have worked for my own company and for a small documentary film company and through both of those I have often done 90% of all development and pre-production work as a whole rather than having it split up. thanks for responding and would love to give my thoughts if you have any clarification!

Storyboards can tell a DP about the director. A new director who comes prepared with coherent or even excellent boards can help build initial trust. Without them, it's anyone's guess if this director will be on top of his visual language on set. But it's also critical to investigate ( in subtle ways ) if the director has an iron-fisted marriage to these boards. The reality is, on all but lush budgets, things change and things drawn don't quite work as planned. Proof of preparation is good, but ability to make alterations is just as big. A well planned storyboard can also reveal a director ill-prepared for a lightning fast indie shoot. Personally, on all but commercial shoots, I am not a fan of even a shot list, let alone a storyboard... not as director, not as DP. I riff very well off actors performance and blocking, and select my shots on the day, on set at blocking. All those frames will fit with in a pre-designed approach to things I will keep consistent for story, character, or act; things like the focal lengths I will use, working stop, camera movement style or lack thereof, lighting styles, and so on are pre-determined, and my on the fly choices fit those parameters. For me, I have found this organic yet structured approach far more useful whne one has 15 days, 12 days , or fewer days to shoot a feature. I hear the kids shoot them in fewer than 10 now; I don't suspect there's much storyboard in use on that set.

Hey, Justin Little! I actually went to Colorado Film School, so I know what you mean. It's both an indie world out there - so it's hit or miss whether or not they'll have a detailed storyboard - but it's also more sport and commercially driven, and neither of those fields leans heavily upon using storyboards.

In regards to my question, it was really more about what details do you look for to give you confidence in the project and/or the director and less about how do you use those storyboards. Some DPs can see a lookbook, or use reference photos, or even just location stills with actors blocked to figure out their shot list, but I'm looking to unpack what a director's prep tells you, the DP, about the director.

Royce Allen Dudley That is a fantastic insight. I've said it to many, but am just now taking my own advice now that I'm moving from producer to director, which is in order to get your production crew on board, sometimes you need a quick-reference visual (not always a storyboard). Not as a hard and fast rule, but having that reference definitely gives you the ability to start a much more constructive conversation. I definitely dig the organic approach - we did something similar for our 48 Hour Projects last year (our team did 2) with a kind of mood lookbook which allowed the core team to point and go "I want it to feel like this". But if the art direction requires anything outside of bare-bones, then I definitely use storyboarding for my "hero shots" - ya know, like "hero props" LOL! Yeah, those lightning-fast indie shoots really can wreck plans, but I often over plan to give myself room to play - not in my shot list/storyboards, but definitely with my schedule so the scenes have room to breathe when necessary. Jeez... 10 days to film a feature?! Wow... I can't even imagine. One location? Two characters? LOL!

I look for some clarity about what the director sees in their head when they think about the shots and scenes and transitions that make up their movie, That is what I will try to improve upon and put on the screen. Ideally storyboards are a short-hand reminder of the long conversation about the project. That long discussion is first and foremost for me, in determining what the director sees, what they like, and how they want to tell the producer’s story. After those discussions any previous storyboard will likely be set aside and new storyboards are created to be a guideline for everyone. Doing the boards before the Director and DP are in sync is kinda pointless other than to focus the director on the visual flow of their movie

Hey, Hannes Famira! Are you looking for someone to attach it for you? Or buy it for you and attach it for you?

Both, I have the DC cable but I am looking for someone to sell me a 4-pin LEMO and solder it to one end of the cable.

Okay, inside sources say to check out Gotham Sound and MarkerTek. Let us know how it goes!

Thanks Kay, Gotham Sound is out. I have had a terrible experience in the past but I found AbelCine here in Brooklyn are actually a good option. Going there today. Thanks for helping!

I will keep AbelCine on my shortlist, then! Thanks!

I like the idea. I think about the painted monasteries from Bucovina (Romania), but maybe sometime in the future. Karen "Kay" Ross , what historical sites or monuments would you like to explore and photograph?

https://wherethesnowsgo.com/2020/05/07/painted-monasteries-bucovina/

Oh, cool! I bet Wiki would benefit from updated pictures of painted monasteries. Most of my knowledge if of the DMV (DC/Maryland/Virginia area), which is HIGHLY documented. Also, I'm not physically there, so if I were to participate, it'd be in the LA area, which I don't yet know as well and wouldn't know to begin LOL! Although I'd love to know more about its native history.

Hey, Amy Balcomb! Definitely check the job postings: https://www.stage32.com/find-jobs Is there a particular attraction to documentaries for you?

Hey Kay! My role as a composer allows me to tell stories with music and some of the recent network releases in this genre have been stunning (My Octopus Teacher, An American Murder, etc). They continually inspire me & draw me in & I think my style of writing moving, evocative underscores would really suit documentaries.

LOVE watching this talk! Although, it feels like he wants to make a third point and we never hear it. Hmmm... Thanks for sharing, Brian Onley!

Thanks, Kay! Love to help when I can :)

I live in Tobyhanna, PA, and saw a post from Bridget LaMonica, who lives in Scranton, PA. I would love to collaborate on a movie, if you are interested.

I can be reached at 570 894-4320. joanenering2@yahoo.com

Hey, Kristina Smith! Definitely check the job listings regularly: https://www.stage32.com/find-jobs