Cinematographers Give Their Best Filmmaking Advice…

Summary

The video script delves into the art and science of cinematography, emphasizing the importance of life experiences and personal vision in shaping a cinematographer's style. It highlights the role of lighting and camera work in storytelling, the significance of color grading, and the collaborative process with directors and production designers. The speaker encourages embracing happy accidents and taking creative risks, advocating for a balance between technical mastery and artistic expression to transform ordinary moments into extraordinary cinematic experiences.

Takeaways

• 🎥 Cinematography is a blend of technology and artistry, where the cinematographer is responsible for the visual storytelling through the use of light and camera movement.
• 🌟 The role of a cinematographer is to enhance the narrative with the right use of light, contributing to the mood and dramatic content of a scene.
• 📸 Style in cinematography is deeply influenced by the personal experiences and emotions of the cinematographer, making each work unique.
• 👁️ The audience's perception is shaped by the cinematographer's choices in composition, lighting, and camera angles, which should align with the story's mood.
• 🎼 Cinematography, like music, has a complex language that requires mastery of various technical elements such as lenses, depth of field, and lighting to create a harmonious visual experience.
• 🌞 The cinematographer's task involves manipulating reality to evoke specific feelings in the audience, such as heat in the film 'Do the Right Thing'.
• 🎨 The importance of color grading and tools like Film Convert Nitrate to give digital footage a timeless, film-like quality, emphasizing the role of color in storytelling.
• 🔧 Cinematographers must be adept at both the scientific and artistic aspects of filmmaking, understanding technical details while also adding their personal touch.
• 🤝 Collaboration with production designers is crucial for cinematographers to achieve a cohesive visual style and effectively convey the story's atmosphere.
• 💡 The ability to adapt and respond to unexpected events on set, such as changes in lighting or actor performances, is a valuable skill for a cinematographer.
• 🌈 Embracing a diverse color palette and understanding the symbolic meaning of different colors can add depth and layers to the visual narrative.
• 🌟 The best directors trust and respect the cinematographer's vision, allowing them to bring a unique quality to the storytelling process.

Q & A

What is the fundamental skill set required for a cinematographer according to the script?

The fundamental skill set for a cinematographer includes understanding camera and lighting, and the ability to respond to emotions by dancing with the camera.

How does a cinematographer's life experiences influence their style in filmmaking?

A cinematographer's style is largely determined by their life experiences and the things that personally move them, which in turn affects the material and the storytelling.

What role does the director play in the performances and story of a film?

The director is the author of the performances and the story of the film, guiding the actors and shaping the narrative.

What is the cinematographer's contribution to the storytelling process?

The cinematographer is the author of the use of light in the film, which contributes to the story and helps set the mood and atmosphere.

How does a cinematographer exercise control over the visual aspects of a film?

A cinematographer exercises control by selecting lenses, camera angles, and using lighting in a way that appears natural and fits the mood and dramatic content of the scene.

What is the significance of operating a camera in picture making?

Operating a camera is joyful because it allows the cinematographer to capture the image exactly as they envision it, rather than just interpreting it.

What is the difference between good cinematography and the cinematography that's right for a movie?

Good cinematography is technically proficient, but the cinematography that's right for a movie is tailored to the specific needs and style of that film, even if it's not traditionally 'good'.

How does a cinematographer analyze their own work to understand their preferences and motivations?

A cinematographer can analyze their work by looking at the pictures they've taken, understanding why they took certain images, and what drives them to capture specific moments.

What are the three essential functions of lighting in cinematography?

Lighting must provide sufficient illumination for recording on film, make up for the contrast difference between the human eye and film, and enhance the illusion of three dimensions in a two-dimensional medium.

Why is it important for a cinematographer to know their own identity and background?

Knowing one's identity and background is crucial because it informs all elements of the filmmaking process, from the camera and script to the sound and editing, and helps create a unique vision.

How does a cinematographer develop their unique style, especially in terms of color grading?

A cinematographer can develop their unique style through color grading, using tools like Film Convert Nitrate to emulate authentic film stocks and give digital footage a timeless, film-like quality.

Outlines

00:00

🎥 The Art and Science of Cinematography

This paragraph delves into the essence of cinematography, emphasizing the importance of the cinematographer's role in creating a visual narrative. It highlights the interplay between camera movement, lighting, and the emotional connection with the subject. The speaker discusses the unique skill set required for a Director of Photography (DP), which includes not only technical expertise but also a deep understanding of the story and the ability to convey it through the use of light. The paragraph also touches on the idea that a cinematographer's style is influenced by their life experiences and personal sensibilities, which contribute to the overall mood and storytelling of the film.

05:02

🌞 The Role of Light in Cinematic Storytelling

In this paragraph, the focus shifts to the significance of light in cinematography. It outlines the three main functions of lighting in film: to provide sufficient illumination, to compensate for the contrast difference between human vision and film, and to enhance the illusion of depth in a two-dimensional medium. The speaker also discusses the emotional impact of lighting and how it can aid in storytelling. The importance of self-awareness and personal identity in a cinematographer's work is underscored, as these elements inform the creative choices made during the filmmaking process. The paragraph concludes with the notion that a cinematographer's work is most effective when it seamlessly integrates with the story, rather than drawing attention to itself.

10:03

🎨 The Creative Collaboration in Filmmaking

This paragraph explores the collaborative nature of filmmaking, particularly the relationship between the cinematographer and the production designer. It emphasizes the importance of effective communication and shared vision in creating a cohesive film style. The speaker shares personal experiences and insights into the creative process, including the value of embracing 'happy accidents' and the ability to adapt and respond to unexpected events on set. The paragraph also touches on the importance of being open to new experiences and the liberating nature of filmmaking, which allows for personal expression and artistic growth.

15:04

🔧 The Balancing Act of Technical Mastery and Artistic Vision

The final paragraph discusses the dual role of a cinematographer as both a technician and an artist. It stresses the need for mastery of complex technology in service of artistic expression. The speaker reflects on the challenges and rewards of the profession, including the necessity of being adaptable, innovative, and brave in one's approach to storytelling. The paragraph concludes with a call to embrace the unknown and to continually seek out new ways of expressing the mundane in extraordinary ways through film, highlighting the lifelong journey of discovery and growth inherent in the craft of cinematography.

Keywords

💡Cinematography

Cinematography is the art of capturing and composing motion-picture images. It is central to the video's theme as it encompasses camera and lighting techniques that are used to evoke emotions and tell stories. The script mentions that cinematography is about 'dancing with the camera' and being responsive to the actors' performances, highlighting its importance in creating the visual language of a film.

💡Lighting

Lighting is a critical aspect of cinematography that shapes the mood and visual impact of a scene. Defined as the manipulation of light to enhance the storytelling, the script emphasizes its role in creating a 'natural' appearance on screen, fitting the dramatic content of the scene. It also discusses the technical side of lighting, such as lumens and exposure contrast ratio.

💡Lens Selection

Lens selection refers to the choice of camera lenses used to capture a scene. It is a key concept in the script as it directly influences the visual perspective and depth of field in a film. The cinematographer uses different lenses to control the quality of life and to make the audience focus on specific elements within a scene.

💡Camera Angles

Camera angles are the positions from which a scene is filmed and are crucial in dictating the viewer's perception. The script mentions the importance of camera angles in making the screen appear natural and fitting the mood of the scene, contributing to the storytelling process.

💡Composition

Composition in film refers to the arrangement of visual elements within a frame. The script discusses how composition guides the audience's attention and tells a story through the arrangement of elements in a shot. It is a fundamental part of cinematography that helps in conveying the narrative and emotional undertones.

💡Mood

Mood in filmmaking is the emotional atmosphere created by various elements, including lighting and composition. The script highlights how the cinematographer uses lighting to create mood, affecting the audience's emotional response to the story.

💡Authenticity

Authenticity in the context of the script refers to the believability and genuineness of the film's narrative and visual elements. The speaker mentions that good cinematography is not just about technical perfection but about creating an authentic experience that resonates with the audience.

💡Storytelling

Storytelling is the essence of filmmaking and is deeply intertwined with the script's theme. It involves conveying a narrative to engage and emotionally connect with the audience. The script discusses how cinematographers use light and camera techniques to enhance storytelling.

💡Color Grading

Color grading is the process of altering and enhancing the color of a video to create a specific look or mood. The script mentions Film Convert Nitrate as a tool for achieving a timeless film-like quality through color grading, emphasizing its importance in adding a layer of artistry to digital footage.

💡Production Design

Production design involves creating the physical environment for a film, including sets, props, and locations. The script highlights the collaboration between the cinematographer and the production designer in shaping the visual style of a film, underlining the importance of this role in the creative process.

💡Accidents and Adaptation

The concept of accidents and adaptation in the script refers to the unexpected events on set and the need to adjust plans accordingly. It illustrates the improvisational nature of filmmaking and the importance of being flexible and creative in response to unforeseen circumstances.

Highlights

Cinematography involves a dance with the camera in response to emotion, requiring a specific skill set.

Style in cinematography is greatly influenced by the cinematographer's life experiences and personal emotions.

The director authors the performances and story, while the cinematographer is the author of light in film.

A cinematographer's objective is to control the quality of life through lens selection and camera angles to fit the scene's mood and content.

Cinematography is as complex as music, with the ability to use light in intricate ways.

Cinematographers are in charge of the science of cinematography, including lenses, depth of field, and light measurements.

Composition and lighting are crucial for directing the audience's attention and creating mood.

Cinematographers must understand how to emotionally touch an audience and tell a story that resonates.

Operating the camera is a joyful part of filmmaking, allowing for the creation of desired images.

Cinematographers become characters in the scene, reacting and interacting with the actors.

Spike Lee's film 'Do the Right Thing' used controlled environments to make the audience feel heat.

Good cinematography is about what is right for the movie, not just technical excellence.

Cinematographers should analyze their own work to understand what drives them to capture certain images.

Lighting serves to provide sufficient illumination, correct contrast, and enhance the illusion of three dimensions.

Cinematographers must know the story they are telling before considering how to light it.

Personal knowledge and identity are the most important tools for a cinematographer.

Cinematography is about turning everyday experiences into extraordinary moments through storytelling.

Color grading is an effective way to develop a unique style, with tools like Film Convert Nitrate offering film stock emulations.

Cinematographers should embrace happy accidents and the scrappy nature of filmmaking.

Cinematographers must be ready to adapt and respond to unexpected events on set.

The best directors trust the cinematographer's expertise and encourage unique contributions to the story.

Production designers are vital partners for cinematographers in creating the film's visual style.

Cinematographers must be confident in their role and capable of making decisions on set.

Cinematography is about mastering complex technology in the service of art.

Cinematographers should be brave, bold, and always remember the story they are telling.

Every day in filmmaking is a discovery, and cinematographers should not be afraid to explore the unknown.

Transcripts

this video is brought to you by film

convert

it's experiencing life

it's just experiencing and connecting to

what's around you

you know cinematography is really

composed of camera and lighting and how

to sort of basically dance with the

camera in response to somebody else's

emotion and it's a it's a strangely

specific skill set and you know that was

really crucial I think to my journey as

a DP

style I think is so much besides the

material so much determined by a

cinematographer's life experiences and

and the things that personally move

the the artist the cinematographer the

director is going to be the author of

The performances

of the film uh the story of the film

the cinematographer is the author of the

use of light in the film and how that

contributes to the story the objective

of a cinematographer is to exercise the

control on the quality of life

the selection of lenses and camera

angles in such a manner that what

appears on the screen

appears natural fitting the mood and

dramatic content of the scene

operating is a joyful part of picture

making for a cameraman because you get

to get this image exactly the way you

want it rather than interpret it it's a

as complex a language as as music you

know cut 88 keys you can use them in any

complex way you want to but we got the

sun and the light Jesus is there

anything more complex than light we as

cinematographers were in charge of the

science

and there's a tremendous amount of

Science in in cinematography lenses and

depth of field and how many lumens come

out of a 2K light and what's the

exposure contrast ratio and on and on

and on

and adding our own

sensibilities our own artistry

our own skills to the process for

instance it's very much about

composition the were shot that tells an

audience where they're supposed to look

when

the lighting of the shot creates the

mood so as cinematography we

have always had to understand that how

do we you know touch an audience how do

we you know tell a story so that their

their brain and their heart you know

embrace it I think every cinematographer

will agree every cinematographer that

likes to operate will agree

that you become the character in the

scene so you're just acting along with

the actors as well like you're reacting

off of them getting up in it and like

being part of it is so much fun

yeah

[Music]

the first thing that spike said to me

about do the right thing he says this

film is going to be set on the hottest

day of the summer how do we make the

audience feel Heat

we had a one block in Brooklyn that was

going to be our studio

and we can control the color we control

the color the costumes we renovated some

of the houses there and determined what

colors were going to be there

so it is it's it's manufacturing the

reality heightening the reality to get

the audience to feel a certain way I

think people confuse prissy with good

cinematography what was it Freddie

Francis says there was

good cinematography and bad

cinematography and then there's the

cinematography that's right for the

movie and I often feel that actually

that people if reviewers don't mention

your work it's probably better than that

they do it means it actually works

because they've shown there's a piece

just walk around with the camera and

just take pictures and then look at

those pictures and try to analyze why

did they take the picture which picture

you like and which one you don't and try

to understand what drives you to take

particular image you know that tells us

who you are you know and then there are

certain conventions you have to follow

when you make movie you know it's very

individual and I think the biggest thing

for a photographer is to to have the

ability to read the script and find the

story in it and then digest the story

through your own experience and project

the images through through your own

experiences you know

when you have an idea it's usually an

idea if you've seen it you've heard it

or you experienced it

ideally you bring your life experience

to the process of making that a little

bit

at its best

so that you connect to it in the way

that you want your audience to

it has to do with the RTC the

photographs the the paintings and so on

the images on the street sometimes the

light the way it falls

in certain places on buildings and so on

there are three things that lighting has

to do

it has to

provide for sufficient illumination to

record damage on film

it has to make up for the difference in

contrast between our eye

and the film and it has to enhance the

illusion of third dimension in a

two-dimensional medium

okay well that's what it has to do what

it can do it can affect you emotionally

it can help tell the story

you have to know what story you're

telling before you even start to think

about how you light it and you have to

think about whether you want the

audience to see everything clearly or

whether you want to hold it back a bit

from the audience where they want to

throw the actors into a little bit of

shadow

having knowledge yourself knowing who

you are where you come from is the is

the the most important tool you have

it's more important than a camera it's

more important than the script it's more

important than if you sound as honest

more important than the editing because

all of those elements are informed by

your accent so before you invest in the

camera before you invest in writing the

script ask yourself real serious

questions about who you are and the

stories that you wanted to if you don't

see yourself in the story if the story

is not a reflection of a world that you

want to create it's probably not a story

worth telling that's just me that's just

my own bias in terms of why I feel like

filmmaking is an important art form

while it's an important expression

my way to

express myself I don't have only black

gray and white to have also red orange

yellow green blue indigo violet each one

of them

can be a different character a different

moment in the in the story can represent

symbolically different aspects

a frame cannot just be a representation

of just what's in front of you it's got

to have three-dimensional it's got to

mean much more than what it's shown I

constantly have to think every time I'm

doing a film so how could I make this

image more poetic how can I say more

about the emotional state of that

character in this film that's what's in

the frame the balance of the frame

whether it's a formal symmetrical frame

whether it's off balance such a complex

palette that you've got to play with

colors light that's what's wonderful

about it really

I think the best director for a

cinematographer will say I've given you

a story

and I know your work as iron I know

you're working respect your work as a

cinematographer and I see what you're

interested in and I can actually talk to

you about it in my what I see you know

we can have a conversation about if if

I'm if I'm On Target or not but I have

studied your work and I realize that you

are the only person

that can actually bring that quality to

this story and I'm asking you to come

participate with me in the process

because I know you can bring something

unique

well um

[Music]

I have a strong belief that the better

the production designer is the better

our work will be because they help

Propel and help aidas and how we grade

our scenes in terms of how we light our

scenes how they're actually able to be

staged I do believe production designers

are absolutely vital to cinematographers

in the creation of great work your

communication with your production

designer is so important because the

production designer and the

cinematographer are there working with

the director of find that look to find

the style of the film the production

designer is also a very key person for

me I spend a lot of time in the art

Department talking about color

practical lighting if they can build

that into the set you never really know

who you are as a cinematographer until

the moment that you're certainly on sets

with a whole crew and everybody looks at

you and sees you as the cinematographer

and you have to start calling the shots

so you have to sort of be confident in

your role know who you are where you

come from is the most

poor thing before you you know before

you go write a rival tell a story about

your grandmother tell a story about your

father tell a story about your ancestors

that's those are the stories those are

the stories we tell first and then films

like arrival have a different meaning

you can bring more purpose to those

films because you connect for me when I

made a as I was making a rival with

Denise I was thinking about my children

I was thinking about the mortality of my

children I think about my own mortality

you know I mean when I was thinking

about those things I was concerned about

Denise too that I was concerned about

Denise children's mortality and so those

things don't come you know you have to

live life you have to be seasoned in

life in order to like because I think

come to realization of those things in

your art form and I think the way you

become seasoned to your art form the way

you come uh partially realized I fully

realized partially realizing our form is

when you are honest with who you are and

you are Relentless with your own accent

and your own vision and your

storytelling art making process one of

the most effective ways to develop your

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products I love what kanihui used to

cool happy accidents you know you're in

a set and suddenly the light stuff

slashing through a window and even even

if you don't use that natural light you

suddenly think well that's it I didn't

think of that so you maybe cut that lie

off and put a lamp to do exactly the

same thing so you can have consistency

I'm one of those guys who doesn't do a

lot of augmenting but like who knows how

to take the accident and turn it into

something wonderful magical I look for

that I thrive on I don't invent stuff it

invents itself and then I notice it and

use it dramatically and that's the way

I've always been it's uh I don't like

figure things out ahead of time before

the actors do would be wrong for me to

think of like figuring something out for

an actor to do I'd like to see what they

want to do then I'd like to like see it

in a very good way and or help dissuade

them from it into something else but

actors are the ones who bring the

characters alive and and the cameraman

in our interpreters of their efforts all

cinematographers take credit for

wonderful happy accidents along the way

and you know I'm certainly one of them

where you know the the clouds come in

and you know the light is amazing for a

brief period of time or suddenly the

clouds are blowing over I really like to

research things have a clear idea what

I'm doing but then I also like to

respond to what happens you you know at

the moment I mean an actor can come in

and their performance

is so overpower something that you

suddenly realize that what you imagined

was an actor in you know lost in a

setting is suddenly a big close-up

because the performance is so

extraordinary there's just so many

factors along the way that affect you

and you you know I mean it's to some

extent

it's it's like you know learning

everything you can and being well

rehearsed but then when it really comes

down to it it's like jazz in the sense

that you respond to the things and you

ebb and flow with everything as it as it

evolves on the set on the day

this is something that a lot of people

think that you know okay we're ASC

members we're always getting like the

big stuff and all that and we don't have

I DIY 70 of still on whatever uh massive

budget or no budget I love the scrappy

nature of that it's like I don't have

the money to to like that depth let me

just put one of these things that goes

25 feet in the air crank the damn thing

on turn it on and that's going to give

me depth in the woods this Scrappy

nature I think you never want to lose as

a Director of Photography

understanding

is

foreign

it's very easy when you're on set and

you're nervous to kind of get tied up

but there was a particular time on the

headsacker when I designed a rig for

this night scene in this boardroom it

wasn't quite right and I kept trying to

mess with it to get it right

some point you gotta say okay it's not

working start again and be ripped it all

down put up three China balls and we're

ready to shoot after lunch you also

learn the how to make it work so you can

come across and think oh that's not

worked at all but you then also have to

think very calmly how can I make this

work on the set now what can we do and

sometimes that doesn't mean you know

discussing options with the director but

also I like I like the room

for something unexpected to happen on

set they'll throw away the plan because

that's exciting and sometimes that's

when it's good you know when you didn't

you can't you know we've just been

looking at some interesting previews so

it's great and planning is great but you

can't plan for everything that will

happen on the day especially not with

weather or or what an act will bring to

a scene or whatever what does happen

every day

is that I'm nervous especially at the

beginning of the day on and every job no

matter what it is even you know

commercials anything that I'm doing I

feel that there is a possibility

and it might not work I might not be

able to figure it out I I always have

that feeling but

usually 99 of the cases it's possible to

to make it work and and um and that's

what gives me now a little bit of a

level of Tranquility where I have been

faced so with so many

um nearly impossible situations and we

figure something out and we can do it

there's always a way generally I think

when you you're kind of looking for new

ways to do things because uh you just

don't want to be telling each story the

same way that you told the last so

improvisation and Imagination is really

important the things I've stumbled down

to in terms of a look has come out of

ignorance and in naivete and making like

horrible mistakes and then going

actually that kind of looks kind of cool

it's kind of interesting I now feel it

in life generally nobody knows what

they're doing you know it's the only

time you have to hope that the pet that

people know what they're doing is when

you're on the in the operating theater

as a patient or in the airplane

because I know that I don't know what

I'm doing

you want to take we all want to take

chances because it's not this

comfortable life we've chosen where we

just make movies and and we work with

movie stars we express ourselves

artistically through our work

and you want to take chances so when you

work with collaborators who are willing

to do this and encourage you to take

this the chances then it's the ideal

thing that you don't mind you know

having two divorces and

you know because because they're making

movies is so liberating the sin retired

for not only has to be a scientist and

an artist but they they have to be a

manager and a politician and and a

people person and the the your greatest

gift to an actor or an actress is to

create a comfortable arena for them to

to be Stellar to do their best work and

if they feel like they're cared for by

the cinematographer their work is indeed

going to be better they're going to take

bigger risks than they might if they

felt that they weren't being watched

after by the cinematographer

cinematography is the mastering of a

complex technology in in the service of

Art and a lot of people think that that

if you're a cinematographer

uh that you're more of a technician than

you are an artist but I would I would

say that you're more an artist than you

are a technician because the technology

serves what the ideas are and how

they're filtered through your mind if

you're telling a story

how do you want the viewer to feel you

know and I and I don't think you should

be afraid of

um pushing things I think be brave be

bold and I think just remember always

what story you're telling

most of the time particularly at the

beginning of our career are we doing a

through an emotional state only

afterwards we become more and more

cautious and more and more aware we are

in order to be very specific uh which is

the reason that you are telling or doing

something in using that light that color

in technology or in in art in in our

professional we never know the end of

our journey and that's what is great

when we start any project we more or

less know where we're going for how far

we can be prepared but every day is a

discovery it will never should be afraid

to open a new door or the mystery and

discover something new this is the

meaning of our life

discovering I'm I would hope that when

people see my work what they see is an

attempt to take everyday sort of subdue

mundane human experiences in

storytelling in film and

my ability or my attempt to help turn

them into

extraordinary moments

foreign