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