Re: HD

Here's the interview with Anthony Dod Mantle that I mentioned in your post about HD:

http://www.viceland.com/int/v16n9/htdocs/our-two-favorite-cinematographers-133.php

They also interviewed Christopher Doyle:

http://www.viceland.com/int/v16n9/htdocs/our-two-favorite-cinematographers-doyle-134.php

HD

I have been a fan of HD when it facilitates our doing something that we are not otherwise able to do with another medium. I have always thought that was most obvious in production when using very small cameras to record big images, as was done so well on Slumdog Millionaire. When HD is used in the same way as traditional film (big cameras in studio configurations), then I have found it to be less interesting and less applicable. Unless of course there are aesthetic or practical reasons.

Last night I went to a screening of A Serious Man, which included a Q&A with Roger Deakins where he was asked about shooting HD and he put it succinctly. I paraphrase his reply - When HD is easier to shoot than film, and renders a better result, it will make sense to shoot it. Until then, it doesn't make sense to me. Up to now - it is not easier, and the results are not better, so I continue to shoot film. Arri is working on some interesting new technology that I want to test - if it lives up to its promise, maybe I'll shoot with it.

Each of us has to decide for ourselves which is the best medium for each project. When budget or convenience are the only considerations, then the artistry of the cinematographer is denigrated. The aesthetic demands of the individual production must weigh into the equation - and then balanced against the schedule, budget and other practical issues.

A Conversation with Christian Berger

I just wanted to share this interesting interview with Christian Berger, Michael Haneke's cinematographer, about The White Ribbon. The film will be released in the United States on December 30th.

http://www.movieline.com/2009/10/a-conversation-with-christian-berger-cinematographer-of-michael-hanekes-the-white-ribbon.php?page=all

Call Sheets

Call sheets are a crucial part of production communications. They list who is supposed to be there, the time they are due, the scenes in the order they will be shot, and many more essential pieces of information.

Inaccurate call sheets cause confusion, and slow the labor intensive production process.

Call sheets are also legal documents. They are part of a legal contract that declares when cast and crew are expected on set and they make clear the expectation that cast, crew and production will honor the standing labor agreement (on both sides). Further, call sheets and DPRs together are evidence that the expectations of the labor agreement will be followed, and of work completed.

Department heads and key crew members do not wait to be told by the AD what is "next" they refer to their call sheets, and armed with this information, then can plan ahead, so that the work of the day progresses smoothly and efficiently.

All this can grind to a halt when call sheets are not accurate, when the information is incomplete, or when changes are made, but not communicated to all the crew.

The second AD generates the call sheet based on information provided by the first AD. The first AD reviews and confirms the information - and preliminary call sheets are distributed, usually by lunch, so that department heads can review and call attention to any details that they feel need to be considered. After vetting, the final call sheet is generated, signed by the UPM, AD and Director, as a contract - an agreement, that this is the planned work and that they expect it is reasonable to complete in the time allotted.

The call sheets are then distributed, and everyone who is named is obligated to be ready to work at the specified time. The production in turn, is obligated to honor their agreement with the cast and crew in terms of breaks, meals, compensation, etc.

Be sure to read your preliminary call sheets, let the AD know of any concerns you have, and then read the final call sheet before you go home for the night. Know your call time, be early, be professional in all your dealings.

Your reputation is everything!

Working with the PEC

The PEC oversees the equipment for hundreds of productions every year. And unlike professional rental facilities, the people who use (rent) the equipment from the PEC are students, learning both how to use the equipment as well as how to interface with the staff who is there to provide support.

As issues arise, please remember that you are not the only person/project with whom they are dealing. There are many projects, and many personalities. While you may think yourself reasonable, you may project a tone or attitude which does not engender an eagerness to assist. Whereas, if you are pleasant, reasonable and patient in your dealings - if you listen in addition to simply speaking, you will be more likely to find a sympathetic ear.

I encourage you to treat others as you yourself would like to be treated. I encourage you to give others the same benefit of the doubt that you yourself would like to receive. I encourage you to step back, gain some perspective and then move forward appropriately and with courtesy.

Remember eye contact, a simple smile and a lightness of tone combine to become a powerful communications tool that will serve you well in all your dealings for years to come.

Wide Angle Lens

Here's a quick reminder that when you use the wide angle lens adapter with your EX3 be sure to enter the camera menu and turn the "wide conversion" to the ON position. When you remove the wide lens adapter, be sure to reset this menu to OFF.

Shooting Tests

Plan your tests carefully. You will want to test both how to achieve the desired results, as well as at which point it ceases to work. You need to know the parameters within which you can work. Make a draft proposal of your plan and organize it in a methodical way that will both help you to accomplish all you need to accomplish in the time allotted, and help you stay focused on your objectives as you proceed.

Remember as you test your variables, to maintain a control that you will revisit to help you keep track in your mind what normal is - so that you can determine how far afield your tests have brought you.

Tests are extremely valuable, and yet, on lower budget projects are difficult to schedule. The time spent testing will save time and aggravation in production and post. So keep precious the opportunity to shoot tests. Learn all you can from them.

To do this, your tests should as closely as possible replicate the shooting conditions which you will face during your production. The more you vary from what is expected, the less reliable your results.

Keep clear notes. Slate every shot clearly.

Have fun.

Location Scouting

As you look for the perfect locations for your film, remember a few things:

- Consider how to make each location work for you - even if you don't like it, you may find yourself shooting there, so work to find solutions to the challenges each location poses.

- Look for those elements that you can best exploit to make your shoot even more successful.

- Look for ways to hide the most offending problems so that they do not appear in your finished film.

- Do not give up until you have found a location that will work for your production - that is all departments. It has to work for picture, sound, scheduling, budget, etc.

- In this endeavor you will have to be flexible and understanding, realizing that the concerns for your department are not the only considerations.

Your ultimate goal is to make the best film possible.

Applying Gels to Windows

The best way to adhere gels to a window is to:

1) clean the window thoroughly

2) mix some water with just a touch of dishsoap into a spray bottle

3) spray a light application of the soapy mixure onto the window.

4) align the gel onto the window

5) use a squeegee to smooth out the gel and to remove the excess soapy water.

6) with a sharp razor (matte knife) carefully trim the edges of the gel

Shooting a Car interior - 546 style

From a student:

I was thinking a bit tonight about lighting our car interior during the daytime. Our thinking behind these first car scenes is that the world is still a magical place for Efrain at the beginning of the film and we want to present the desert as a wonderous place with rich reds and browns and blue skies. That being said, we are trying to find a way to narrow the dynamic range between the car interior and the exterior

Given that the outside world is going to be 2-4 stops over depending on which direction we are facing at various times of day, we are considering using mirrors and shiny boards to bounce light inside the cabin (through one or more layers of diffusion) as well as bounce cards inside the car itself for CU's.

I was wondering though, whether it might be useful to supplement these with a small HMI like a 400w or 575w Par with, maybe, a superwide lens in front? While we could run such a lamp off a car inverter (at least for a while) I wonder if there isn't anything we can't do with the sun that an HMI would be better suited for? I suppose any lamp that we cannot keep powered for the duration of our shoot isn't a realistic lighting solution, but still I wanted to ask.

We had also considered using Kino car kits or Litepanels for CU's inside the car, but we are skeptical as to their effectiveness under such already bright conditions. We'd like to test them next weekend, but thought we'd solicit your opinion first.

Prudence

Safety means more than looking our for the welfare of your cast and crew, it means also respecting your locations, and the people who live and work there long after you are gone.  It means remembering that you are making a film, and that is wonderful, amazing, fantastic!  But it's not more important than people or property.

Protect your locations, speak with soft voices in polite language, do not let your desire to create an image override your good judgement.  Do not put life, limb nor property at risk.

Remember that as you walk through life, you are an ambassador for those who follow in your footsteps.  Behind you is a legacy with a price that others may have to pay, so act prudently and be aware of your responsibility.

Through it all, stop from time to time to appreciate your good fortune at having the opportunities that you have worked so hard to achieve - you are making films.  What could be better! 

Who's Film Is It Anyway?

I keep thinking about creative authorship.

When I sign onto a project - any project, I immediately take ownership.  That does not mean that I agree with every decision, or that I so not share the ownership - it means that the project is my baby.  I give it the best I have to offer, all I have to offer and I work tirelessly to make it as good as it can be under the given circumstances of constraints in which it exists.

I am partner to the other creative members of the team.  We don't always agree, but we always consult, we share, and we work to do the best we can.  We do not do these things because other bestow the right or ability on us - we do them, because we take pride in our work , and we believe in what we are doing, and we respect each other.

This process is not flawless, nor without its challenges, but when they arise, we address them, with truth, honesty, respect and discretion.

My questions to each of you (regarding the films you are shooting) are:

1) Who's story is it?

2) Who's film is it?

If the answer to #2 above is not "mine"  then you need to examine what is going on.  It is up to you to make it your own, to accept responsibility for those things that involve you, or should involve you.  If you are not part of the solution, you need to get involved.  

This is not about ego.  It's not about being pushy or controlling - it is about creative collaboration - respect for self, respect for others, respect for the project and the process.  It is about giving all you have to offer, and embracing a willingness to risk failure.  Not worrying about playing it safe, but rather about finding solutions to difficult challenges - to working with your team - even if you don't personally like them - you are charged with working with them to make a film that in the end is better for your having been part of it, than it would be without your involvement.

When I do a film - I own it.  The work is mine.  I may be proud of it, I may wish I had made different choices; but there is no mistaking that I did what I did and I sleep well at night knowing that under the circumstances with which I was faced, I did the best work possible.  

Hind sight is always 20/20 - and thankfully it provides us a portal through which we can look, learn and grow.  So that in the future, when faced with new challenges, our choices will benefit from being informed by our past performance.

Who's film are you making?

Serenity Prayer

As you proceed with your production and beyond onto other productions, it might be helpful to keep in mind the "Serenity Prayer".

"....grant me the serenity to accept the things I cannot change,

the courage to change the things I can,

and the wisdom to know the difference."

I read in your journals sometimes on the lines - sometimes between the lines - that you are frustrated with either the process or the anticipated results of your work.  Sometimes you identify your self as the source of your frustration, sometimes you point to that actions of others.

I suspect that in each case it is a combination of trying to do your best under tight time constraints with limited resources while working collaboratively with others who are doing the same, although at times seemingly working at cross purposes - despite an implicit understanding that you are working toward the same goal.

It is easy for the ego to see one's contribution in one light, but to see another's in another. When to the objective observer, it may be easier to see both most clearly.  Objectivity is one of the most difficult perspectives - especially for one involved so intimately when judging his/her own work in relation to that of others.

Thus - the prayer - 

Don't lose perspective.  

About Reels

A good friend of mine asked me to meet with a cinematographer friend of hers to offer whatever assistance I can.  I made a few introductions which she appreciated, and then she asked me to look at her reel, which I did.  I have written my comments to her, and it occurred to me that my reaction to her work is similar to my reaction to many reels I see, and so has a bit more of a universal application.  I thought I would offer it to you.  I welcome any comments, questions, or feedback regarding this.  Please contribute your own thoughts to the discussion as well.

It was my pleasure talking with you yesterday.  Thank you for leaving your reel with me.

Since you asked my opinion, I will tell you with complete honesty my thoughts.  Remember, I am but one person, with one opinion.

First - I think you have some beautiful work on your reel.  You are clearly talented and passionate and it shows in your work.

But....

Your reel does you a disservice.

What are the "articles" you show - are they articles that featured you or articles that you wrote?  Whichever the case, I cannot read them, and so they are unclear.  I think if they are important to you, you should post them as PDFs on your website - but they do not have a place on your reel.

Second, all the festival logos become redundant - and seem to be saying - how great the work is....but I don't want to read that, I want to see it - so cut to the quick and show your work.

When I opened your aerial link you begin with quotes about how great the aerial photography is....but what are the other shots you show?  did you shoot those, or are those simply to provide context for the aerial work? It is confusing.

I am not able to find your name with the title - director of photography or cinematographer anywhere on your reel, or on the cover for the dvd.  Did I miss something?  In a pile of 300 DVDs, how will I know that yours represents your work as a cinematographer?  Why would someone pick it up from the pile and watch?  

Remember that in general (with few exceptions) people are busy, not generous with their time nor patience, not willing to do extra work for a stranger, and not always that smart.  So help them - 

Your clips are too long.

Your reel to be a director or to be an editor will want to be different, but for a cinematography reel, you want to show your best images first - and you want to end with your best image - and since you never know when someone will turn it off, each one has to be your best.  Narrative in a reel distracts from the visuals - consider the difference between watching a film, then watching it again with the sound turned off.  Yes you want music, and perhaps even sound effects as appropriate on your reel, but avoid redundancy and narrative as much as you can.

Watch 100 reels - and make note to yourself, when do you get bored?  How far in?  Which reels hold your interest?  Which confuse?  Which resonate?  Borrow ideas from the good, and eschew the bad.

For me - the principles I have adopted that  work for me are:

If I don't grab their attention in the first 30 seconds, they will stop watching.

If I don't show that I can shoot appropriate close ups that reveal emotion and the inner thought process of the characters, I will be overlooked for first unit cinematography (movies are 70% close ups)

If they do watch past the first 30 seconds, I am existing on borrowed time.  They are likely to stop my reel at any moment - so I have to hold their attention.  That means - NO REDUNDANCY - even if two shots are not the same - if they seem similar, seem to be the same, or if one does not add anything new that the other already provided, it is not included.

some people like montage reels - I have never been able to cut one to my satisfaction, so my reel is a series of clips - most of them are on my website, though not linked in order.  I think my entire reel might be posted on my agent's site - http://www.thegelleragency.com/ - if not, the clips might be listed at least in the order that they are on my reel.  I'm not sure, I haven't looked in ages.

FYI - my current reel, is 3:40 and by my estimation, about 20 seconds too long.  I have my features and my commercials divided into separate links.  My challenge soon will be what to cut - I already know a few shots from Sea of Dreams that I want to cut, and a few from Lockdown - I want to drop AMW and I have three features that I have shot recently that I have not considered adding yet - so once I do, I'll have to figure out what to do regarding length and structure to keep it short and strong.

I should also add that I have another 4 or 5 features that I shot principal photography on that I have not included on my reel.  The work on those is not bad, but it doesn't add anything new that isn't already expressed by the work I have included.  It is most important that one's reel is strong, fresh, and brief.  Brevity demonstrates respect for your audience, and if they want to see more, you can provide it.  They will ask.  If you give them too much, you are giving them an opportunity (AN EXCUSE) to say "No" and you do not want that  - you need them to make the offer - to say "Yes"

Remember - your letter is meant to get them to look at your resume, your resume to get them to watch your reel, and your reel meant to get them to grant you an interview.  The Interview gets you the job.  No one hires off a reel.  If you can get them to watch your reel first, then you don't need the letter and resume. (When you post a Bio do not make it a narrative version of your resume - write something more personal that is illustrative of the professional that you are without being a retelling of your credentials)

I urge you to build a website where you can place your articles and festival info - a bio, a resume and some clips.

Also - re: your DVD - no on wants to navigate a menu - simply have an opening screen - with your name and title, then a "play" button.  

In my case - because I divide my reel between features and commercials - I have a features button that comes up highlighted -(and a commercials button that one can select) if one simply presses "play" or "enter" my features play - I have enabled ffwd and rwd and skip chapter in case the viewer wants to jump around - though I hope they do not - at the end a contact screen opens with my info, my agents info and the features button not highlighted, but the commercials button highlighted - if they press "play" or "enter" again - they will see 3 or 4 commercials - and at the end it returns to the first menu screen with the features button highlighted, but the commercials button not - the viewer can select either features or commercials, but they don't have to.

The more navigating your require, the less likely they are to see what you want to see the way you want them to.  The more work for them, the less their impression of you.

Keep it simple.  Make the tough choices and sell your best work.  Not every frame is a jewel - and not every jewel needs to be shown.

Tighten your reel - keep it moving - find the length that resonates with you - but I would suggest that if you are longer than 4 minutes, you need to be more brutal with it.  Keep it brief.

I hope this is somewhat helpful, and constructive (that's my intention).  This is a tough market and if you are as brutal about your own work as you can be, you will be able to weather anything else that the nay sayers dish out.

Equipment Issues

If you have a problem with a piece of equipment, be sure to go through it and check it out before you take it to the PEC for help.  If your footage counter isn't working, be sure to check the mag to see if:

there is a daylight spool in it

or

if the counter arm is engaged

Welcome to your blog

Welcome 546 cinematographers.

I thought it was about time we created a place where we could openly discuss the issues that concern you this semester.  So feel free to post your comments, questions and concerns.  Feel free to comment, question and answer each other's postings.  Please keep it civil and collegial and professional at all times.

I hope this ends up being a tool that helps us all accomplish our objectives this semester.

Welcome,

Chris