Cinematography-Theory-And-Practice

Figure 15.3. DP Tom Denove usinga spot meter on set. (Photo courtesyof Tom Denove).Ultimately the director is the boss; he or she may work in whateverfashion they wish. A truly professional DP should have the flexibilityto work with a director in whatever manner they choose. It isimportant to discuss this before shooting starts, and if the DP isn’tcomfortable with how a director wants to work, the time to bow outis as early as possible. Ultimately it is up to the DP to deliver for thedirector the kind of look and visual texture he or she is looking forand ensure that the director and editor have all the footage they needand that it is all editorially usable.The DP’s responsibilities are numerous. They include: to be lit: specific units to be used, gels, cuts with flags, silks,overheads, diffusion, and so on. Directing and supervising thelighting process.and effects people concerning the overall look of the film. (though this may sometimes be the director’s call).(see the chapter on Lighting Sources). nuity:crossing the line, screen direction, and so on. (see thechapter on Cinematic Continuity).specific shots needed for good coverage of the scene.the electricians, the grips, and any second camera or second unitcamera crews; also the data wrangler and DIT. props, scenery, and so on. This is primarily the job of continuityand the department heads, but the eye looking through thelens is often the best way to spot problems. or type of video camera to be used and any specialprocessing or the workflow for video footage. T-stop to use.film speed, shutter angle, and so on.Typically, when starting to light and set up a new scene, the assistantdirector will ask for an estimate of how long it will take to beready to shoot. This is not an idle question, and it is very importantto give an accurate estimate. The AD is not just asking this to determineif the company is on schedule: there is another important consideration.He has to know when to start putting the actors throughthe works. This means sending them through makeup, wardrobe, andany special effects such as blood squibs.Many actors do not appreciate being called to the set a long timebefore the crew is ready to shoot, and in addition, if they have towait, their makeup might need to be redone, and so on. It may alsoaffect the timing of rigging special effects.cinematography290