Currently writing an article with people's advice on becoming a full-time cinematographer. Currently have 5 (including my own) peopel's advice on what path they would take. If you are someone who has advice and would allow me to use your name (first only) and role in the article, we can create a source where everyone can read through a bunch of different pieces of advice. I would also add your instagram or whatever social you have. Here is the article so far.
https://dissolvemedia.medium.com/how-to-become-a-full-time-cinematographer-4361001ed91f
Both DPs have had a prolific career and continue to stay at the top of their game. The world's best directors love working with them and their respective collaborations have become legendary. We show Richardson's perspective on working with Stone, Scorsese, and Tarantino in this video: https://www.youtube.com/watch?v=i0NTyrbjSkw.
There are different aspects to consider. How many great films they've produced, the precision of their techniques and how well it served their stories, any innovations they've contributed to the craft, and the opinion of the directors who's films they've worked on. What do you base your decision on? Both are great artists and we're all fortunate to watch them work.
I’m so confused listening to DP’s discuss their focal length preferences. I come from a still photography background, shooting 135 film and APS-C sensors. So even when shooting APS-C I equate everything to Full Frame. So I don’t think of 18 as an 18, it’s a 28mm for me.
For example I read that Roger Deakins likes 27’s and 32’s. When cinematographers talk about focal lengths are they referring to the Super35 equivalent or 35 Full Frame (Stills)? Like does his 27 and 32 become a 40 and 50 FF equivalent or is that just him getting closer to how “28” and “35” looks on cropped S35.
Do cinematographers think in focal lengths as S35 only or as FF equivalency? Any help would be appreciated.
UDPATE: Thank you all for swinging by and asking some great questions. Really enjoyed the unexpected ones. Keeping me on my toes. Big thanks to Alex for dragging me out of my cave. I'll zip back in and see if there's any stray questions, but that was a load of fun. Need to sign off now for a bit.
Thanks again!
ORIGINAL TEXT:
Cinematographer based in Los Angeles. Began working in film in the late 90s. From Gaff/Grip to VFX, Scan/Record Coordinator, to Colorist, to DIS, to DP, to Director. Clients include Universal, Warner Brothers, Disney, Fox, Netlix, Apple, Google, LG, Samsung, etc. A great deal of experience with all cameras, deep film background, mostly shooting on RED from 2010 onward.
Have camera, lens, lighting, VFX, industry/career questions? Hit me.
proof:
I put together a down and dirty website for myself to organize materials that I found helpful when teaching and learning cinematography. I thought I would link it to here, if anyone can use it for themselves or their students. Cheers! https://sites.google.com/view/webresource/home
This is by no means intended to be a comprehensive list, only things that I found to be so helpful I wanted to be able to refer back to them.
They don’t have to be in consecutive years. Actors and directors are generally discussed and rightfully so but I’m curious to see who else behind the scenes has had an amazing 3 movie span.
-Maybe Peter Jackson directing all 3 Lord of the Rings.
-Emmanuel Lubezki won 3 Oscars consecutively for cinematography for Gravity, Birdman and The Revenant
-Between 2012 and 2015, Leonardo DiCaprio did Django, Great Gatsby, Wolf of Wall Street and the Revenant. (That’s 4, but oh well)
-Tyler Sheridan wrote Sicario, Hell or High Water and Wind River.
I just got pinned to be the DP for an indie short film for my very first time and I have no idea how to go about charging for all the work that will inevitably happen during pre-production, which is gonna last approximately 5 weeks. I was wondering if anybody here had some insight on what the typical cinematographer in the industry would charge for this.
My initial thoughts are:
If my day rate for shooting is $500/day, I should just charge half that at $250/day for pre-production.
However, what about the days that are just 1-3 hour meetings or the days that require me to hop on my desk for a few hours gathering a gear list? Should I just agree to do those for free? Or would it be better to just charge a flat fee for the entire duration of pre-production?
I do live in the bay area so I'm not sure if it's different by location, I assume it's not, but wanted to throw that out there.
Hey guys,
I'm from the UK, and have always been accustomed to American Cinematographer Magazine through University, and this probably sounds ridiculous, but I had no idea that there's a BC Magazine.
Anyway, I'm looking to subscribe to a magazine, but was wondering if anyone had any particular insight as to what magazine offers the best insights etc? BC Magazine offers 6 issues over a 12 month period, whereas AC Magazine offers 12 issues over 12 months.
Advice would be appreciated!
Both DPs have had a prolific career and continue to stay at the top of their game. The world's best directors love working with them and their respective collaborations have become legendary. We show Richardson's perspective on working with Stone, Scorsese, and Tarantino in this video: https://www.youtube.com/watch?v=i0NTyrbjSkw.
There are different aspects to consider. How many great films they've produced, the precision of their techniques and how well it served their stories, any innovations they've contributed to the craft, and the opinion of the directors who's films they've worked on. What do you base your decision on? Both are great artists and we're all fortunate to watch them work.
