Cinematography : DOP feature film by Shrirang Nargund

I am still learning in this business/don't quote me but from the best of my ability a DP is the head coordinator of the overall look/style of the film from a visual, technical & creative standpoint.

The Director of Photography on a feature length shoot should be involved early in pre-production with both the director and the art director. Often times an art director is hired later but this is a blunder. Between these three members of the team, the tone, look and texture of the film can be established. The DP many times will start by searching for images and films that help convey the look of the film in terms of color, light, contrast, framing and movement. But nothing is done in a silo- all work is collaborative with the various department heads. The DP is also in charge of working with the Key Grip to arrange for lighting plots, equipment and all the logistics of making the shots possible. Nowadays, you will also find that in post, an expanded cinematographer may work with a DIT or colorist to further enhance the look of the film with various filters and effects. (Hundreds of purists just shuddered :) Ultimately the basic elements of the DP job is to understand the director's vision of the film and then translate that to the screen through camera and lens choice, framing, movement, light and color. But there are so many facets within each one of these functions that it is important to remember that he/she is part of a larger team that lends specific skills to the project to bring the idea together.

The Director of Photography is responsible for achieving the look and tone the director has outlined in the storyboard.

Thank you both for your kind response. As I was expecting, it means DP translates the vision of Director on film without asking what would be the frame or movement etc. I have to ask then, does DP captures the images himself means does he do the lighting, sits on camera and shoots the film himself or he appoints someone to do these things physically?

Most DPs I've worked with, and myself included, prefer to be behind the camera. Most DPs want to be behind the camera to ensure that what they are looking to capture is being achieved.

Andy Moreno is 100% correct. Most people that I have worked with have done things butt backwards. Always have your key people in place act the pre-production stage: Director, DP, Art Director, and/or VFX Supervisor if the film is going to be filmed against a green screen and camera motion tracking is crucial.

Depends. There is no "exact work" as it's different for each project. Often a DP who runs a camera is called a cinematographer, and a DP if not. On a multi-camera shoot, which one does the DP run? He or she should be observing all the cameras and working with the operators and gaffer to get the image the director wants. Also it is the director's job to translate his vision onto film, not the DP's. The DP usually should ask the director what frame and movement to capture, though he may get to pick or he may get that from the storyboard. This all depends on their relationship. The other answers you got are also correct.

The British Society of Cinematographers has a pretty comprehensive list (similar to the ASC, but I couldn't find the ASC link): http://www.bscine.com/information/training/the-responsibilities-of-the-c... The DP does all these things, or less, depending on the budget and requirements of the actual film. Best wishes!

The BSC list linked earlier is very good. But (there's always a but), there are differences in the standard practices in many countries and locations. I've shot in places where the Director was also the DP, and the DP was the Operator. There are places where the DP lights and everything related to camera is between the Director and the Operator. There are almost as many permutations as there are places on the earth. I think that the fine points change from project to project as the various players change. It is a loose and ever changing set of responsibilities. The one common element is that the DP is responsible for bringing the Director's vision of the Producer's picture to the screen. I rarely operate because I can do more for the picture working right beside the Director during shots than operating. On occasion I will operate, but it is an exception rather than a common occurrence.

thanks guys, The BSC article is great! as Andrew mentioned, that was the exact point for which I raised the question because it changes from places to places. every person behind the camera wants to have screen title as 'Director of Photography' but doesn't aware of the responsibilities at all. being a director I have experienced this many a times. its the director's duty to provide clear vision and define the elements as what and how it should be seen on the screen. Then its DP's duty to translate it on film and make it a true-to-vision interesting visual. the another major problem I have faced is quality lighting. I think, in depth knowledge of lighting is a must for DP because that's what 'makes' the mood of the visual and those compelling visuals makes your film worth to watch! after all film is a visual medium, isn't it?

It is SO important for a DP to get to know is Director as well as possible. In ideal situations, you develop a language together, and an understanding. Each relationship is different though. In production little needs to be said, allowing the Director to be with actors and tend to the other 100 things on his/her list. At some point, they meet up at the monitor and see if their visions match.. and adjust accordingly if not. It's a fun dance.. and one that you need to learn with a new partner on each film.

You are hiring too low. Hire more experienced people and they will know what the DP and directors jobs are and that they are not them. Also you need to hire a gaffer, or a lighting director who might come with a gaffer for the DP to work with.

Hi Cory, it is not necessarily that Webb is inexperienced.. maybe he is... But... maybe he is the type of person who wants to open his horizons and or/ opportunities.... and asking a question such as "what does a DP do for a movie"... is a great question to ask in a forum format such as this. take care guys ! Share the love and the knowledge! Claudio

Shrirang, as you said, lighting is crucial. The DP creating the mood and feel of the images is in a large part done with lighting. Of course the Art Director also plays a very large part in setting the mood as well. Knowing how to control all the aspects of the light including colour, quality, direction, shape. amount, contrast ration, etc. is really important. The exact same considerations have to be made in the shadows. All of this is within the parameters of what the exposure will be and what the film or camera sees. The DP needs to know how to make all of these variables work together and how the camera will interpret the scenes created in front of it. These are the largest part of the palette that I use to create images. It is important that the Director and Producer to spend a little time with the DPs they are considering for their project to determine who meets their parameters as a DP. Should only take 5-10 minutes before it is obvious. That does mean that the Director and Producer have to know enough to ask revealing questions and to know the difference between an answer based in knowledge and an answer based in salesmanship. Keep in mind that everyone with a DSLR now considers themselves a DP.

Haha.. I'm realizing that this is a worldwide forum which could explain some of the different points of view. Yes, crews are run very different worldwide from what I've heard. I'm only speaking of my experiences here in the US. Sorry. ;) Yes Cory I agree! In high-budget gigs, people know what their jobs are and no questions asked. Which is nice, because you can get to work on the creative and not worry about who-does-what. Lower budget shows the line gets more blurred, since less people are asked to accomplish more things. I've done some nice creative work in both areas, they each have their merits.

Shrirang are the DP responsibilities in India similar to those in the BSC article that Webb so generously posted a link to? If not, what are some of the differences you have found?

here in India, since the film industry is so vast there is lack of trained qualified DPs. secondly, DPs does the lighting as there is no different lighting director. DPs can't spend enough time with crew and director due to time constraint so no enough interaction before the shoot. I want them to realize that DP is not merely a good camera operator and being expert in handling modern gadgets doesn't make you DP. its far more than that... there is no dearth of talent here, the Indian technicians are hugely talented only there is need to be little more professional in terms of delivering results and to be more systematic. you can refer to this site where they have defined the duties, http://www.indiancinematographers.com/index.html

Thank you for the information and links Shrirang. It is always interesting to learn how others are approaching productions. There is no one correct way. Camera Operation is not something I do often on scripted shows, I have operators for that, but on documentaries I still get to play. For scripted shows, as you say, lighting and working with the Director while keeping the crew on task both for the scene we are doing and prepping the next scene. Lighting directors here are used more in multi-camera television production than single camera style productions. Camera operation and knowledge of the equipment are a very small amount of what I have to know and do. They are important, but not where I can best help the production. You have the opportunity to help groom the knowledge of the DPs you like to work with and challenge them to move away from the security blanket of the camera to working alongside you in order to make your pictures better. It can create a wonderful working relationship if you are willing to take the time and the DPs are willing to work to learn more. Perhaps you might try to move your DPs in the direction you wish them to go with the added benefit of helping to plan your productions. Ask them to make lighting plots for the scenes you are going to be shooting, including camera placement and angles. It will force them to think of the light and where the camera will be. All of the set-ups at first. Doing lighting plots ahead of time, allows freedom on the set to stretch your imagination, knowing that you have a fall-back position. It is a stretch for a lot of folks, but it quickly separates the people who imagine and create the images from those who have people move lights around and try to find the look on a monitor. It is also has the results of cutting down the lighting budget to what you actually need, and nobody can say they don't know what you are doing. IT is much cheaper to pay the DP to do this work than to do the same work under pressure on a set with the full company waiting. Most of my lighting is done weeks or months before we are on the set. Usually at 3:00am in my office creating the plots of the images that I see in my imagination weeks or months before we are on the set.

that's fantastic idea Andrew! obviously for such idea, now am thinking to rely more on new DPs rather than established ones. since lighting - the overall look of the frame - will be always on the top of my chart as a director, its nice to have a lighting plot while making story boards. thanks for the colourful thread.

No age has a monopoly on art. Creativity, knowledge and experience are at the heart of artistry. Doing something new is part of creativity. Look for the person who can translate what you are saying into images. Reference images help because words can often fail us when describing a look or more probably portions of an image that contain aspects of the look you wish. Your DP needs to put what you asked for on the screen as a minimum, then add all that fancy stuff that makes your ideas look better. Storyboards for me rarely contain lighting info other than a few broad suggestions. The lighting plot is based on the location, the script and the storyboards. Knowing where on the set, the angles and what images we are creating is the basis for the lighting so storyboard usually before lighting plot. There really are no rules, it is all what works for you once you start working this way it will evolve into something you like or not. One of the side effects of doing this is that the whole crew knows I have thought the whole day through. I'm not staring at a monitor and hoping for divine inspiration. Plus it gives me time to have a cappuccino, chat with the actors, and tell the director everything is fine. You know what those pesky directors are like. :-)