Shooting Fathom Pictures' live
action video game "Dreggs."
Responsible for the visual "look" of the production, including
camera work and lighting. This term usually applies to film shoots, either
35mm or 16 mm; however, with the recent advances in video camera technology
many former "Videographers" are now adopting the "Director
of Photography" title. It is important to remember that while this
is gaining acceptance in the production industry, the title "Director
of Photography" as applied to Videographers does not automatically
correlate with the more prestigious title of "Cinematographer."
While the the term "Director of Photography" is now accepted for
both video and film shoots, there is still a very clear distinction between
a Cinematographer and a Videographer. The former shoots film while the latter
shoots video.
The Director of Photography, or DP, typically works with a Gaffer,
and at least one Grip, depending on the size and budget of the production.
Larger shoots, particularly film productions will usually consist of a lighting
crew which includes a Gaffer, Best Boy, Key Grip, Grips, Grip/Electric,
Dolly Grips and Rigging Grips or Camera Grips. Smaller video shoots will
typically include a Gaffer and at least one Grip to work with the DP. Although
shooting video instead of film, these productions employ many of the same
elements and techniques of what is called "film style" shooting.
This term refers to the standard single camera approach to film making;
master or wide shot, medium shots, close-ups and reverses. In addition,
"film style" also refers to other film making techniques such
as the use of dollies and track, cranes or jib arms, Stedicam, and of course
lighting. In fact, lighting plays a key role in the
success or failure of every video shoot.
Every Director of Photography, whether shooting film or video, must have
a thorough knowledge and understanding of the many lighting techniques,
styles, instruments and related tools necessary to achieve a desired "look"
for a film or video. Although there are many film schools and other programs
available to gain access to this knowledge, it really boils down to experience.That
means experience on the job, on the set and on location. Finally, a good
DP must be able to move beyond the nuts and bolts of his or her craft. There
are lots of DPs out there who have exposure charts and focal length charts
practically memorized; who have a thorough knowledge of lenses, film stocks,
developing and printing processes; who can load film magazines and operate
Panavision, Arri, Atton, Sony, Ikegami, BTS and the many other film and
video cameras available; who can use a light meter properly; who can rattle
off the quickest way to set up a shot; and who can identify the hundreds
of items found on five and ten ton grip trucks; however, all of that knowledge
is meaningless if they don't also have an instinct and natural talent for
what is pleasing to the eye. By that I mean composition, framing, lighting,
color, shadows, movement, etc.; all the small details that enable an image
say something to our intellect, to our emotions and to our spirit. It is
a combination of this technical knowledge and the gift or talent for "seeing"
things in a way most people cannot that makes for a good Director of Photography.
DP for "Don't Be a Target" starring Dennis
Franz of NYPD Blue
