1 The Director of Photography – an overview

More documents

Recommendations

Info

The director of photography – an overview 5 ● Work with the assistant directors to formulate workable schedules and remind them of any scenes that are time specific due to sun position or tides, etc. ● Formulate your film stock breakdowns and your Technical Diary. See Chapter 2 as to how to do this. ● Attend all readings, run-throughs and off-set rehearsals. These may be the first time you get to see your artists in the flesh and your pre-visualization, from now on, will include the faces you will be photographing rather than your interpretation before they were cast. ● Establish that your shooting crew has amassed all the equipment you have ordered and that they are satisfied that their testing has been successful. ● Make contact with your laboratory, check who will be your daily contact and who will be grading (timing in the US) your rushes (dailies in the US). Your rushes or dailies are the first print ever struck from the camera negative and can be extraordinarily enlightening, especially early on in the shooting of a movie. Establish with your lab contact the processes you will require and ensure that they are fully aware of the look you are going for. ● Shoot and approve any tests you want to carry out, such as emulsion tests, wardrobe colour tests, make-up and prosthetics tests. ● Finalize lighting plans and communicate them to the gaffer. During shooting ● Get a laboratory report as early as possible. ● Watch the rehearsals, or block-outs, of the scene to be shot. ● Devise and agree with the Director the shots required for the upcoming scene. ● Agree the most convenient shooting order with both the director and the first assistant director (1st AD). ● Ensure your lighting plan has been carried out to your wishes; confirm the stop to the first assistant camera (1st AC or focus puller). ● Work with the 1st AD on background action. This may depend on the union agreements with the background artists; it is common in the UK that the 1st AD and the DP may direct background artists without putting up their daily rate, but if the director gives them instruction they will earn significantly more for their day’s work. Check the agreement with the production office. ● Give camera set-ups to your camera operator and confirm these with the director. ● Set any additional cameras for stunts, etc. ● At the end of each scene, confirm with the director that you have sufficient and appropriate shots to have adequately covered the scene. Advise the director as to additional shots if you think the editor may need them. ● Make sure that still photography and, if on set, the EPK (Electronic Press Kit) crew have all the materials they need.This is often overlooked, but to the DP it can be vital that all the pictures generated on set are as good as the DP’s pictures. Bad publicity photographs, still or moving, can seriously damage a DP’s reputation. ● Last thing at the end of the shooting day, confirm tomorrow’s scenes with the director and the 1st AD.
6 Practical Cinematography ● If the director wishes, discuss tomorrow’s work. ● Check and approve call sheets for the following day before they are made official. ● Check if any of the junior members of your crew wish to ask you questions about the day’s shooting in order to help their career development. Post-production ● Time, or grade, any early trailers that may be being constructed. ● Check any EPKs to make sure they are of sufficient technical quality. ● Approve all effect or composite shots before they become part of the final cut. ● Time, or grade, the final cut. ● Attend digital intermediate (DI) grade if this route has been chosen. For further information on DIs, see Chapter 9. ● Approve or modify answer prints as necessary. ● Attend all transfers to tape versions. ● Supervise pan and scan recompositions. ● Supervise and/or approve all other deliverables – VHS, HD, SD, Pal versions, NTSC versions, etc. ● Look for the next picture to shoot.
Page 1 and 2: www.sharexxx.net - free books & mag
Page 3 and 4: Dedication To the memory of my fath
Page 5 and 6: Focal Press An imprint of Elsevier
Page 7 and 8: vi Contents 5 Lenses 49 Artistic de
Page 9 and 10: viii Contents 17 Testing 146 Why so
Page 11 and 12: This page intentionally left blank
Page 21: 4 Practical Cinematography In early
Page 25 and 26: 8 Practical Cinematography Nowadays
Page 27 and 28: 10 Practical Cinematography nearly
Page 29 and 30: 12 Practical Cinematography Camera
Page 31 and 32: 14 Practical Cinematography Lightin
Page 33 and 34: 16 Practical Cinematography Figure
Page 35 and 36: 18 Practical Cinematography Film St
Page 37 and 38: 20 Practical Cinematography Technic
Page 41 and 42: 24 3 The camera crew An overview Be
Page 47 and 48: 30 Practical Cinematography The foc
Page 49 and 50: 32 Practical Cinematography be left
Page 61 and 62: 44 Practical Cinematography A B C D
Page 65 and 66: 48 Practical Cinematography size an
Page 67 and 68: 50 Practical Cinematography in my v
Page 73 and 74:
56 Practical Cinematography Figure
Page 75 and 76:
58 Practical Cinematography The com
Page 77 and 78:
Page 79 and 80:
62 6 Film stock What is film? Rolls
Page 81 and 82:
Page 83 and 84:
Page 85 and 86:
Page 87 and 88:
Page 89 and 90:
Page 91 and 92:
74 Practical Cinematography its dis
Page 93 and 94:
76 Practical Cinematography Raw sto
Page 95 and 96:
Page 97 and 98:
Page 99 and 100:
82 8 The laboratory The laboratory
Page 101 and 102:
Page 103 and 104:
86 Practical Cinematography make a
Page 105 and 106:
88 Practical Cinematography for wor
Page 107 and 108:
90 Practical Cinematography Film gr
Page 109 and 110:
92 9 Digital intermediates Why turn
Page 111 and 112:
94 Practical Cinematography 1-bit 0
Page 113 and 114:
96 Practical Cinematography camera
Page 115 and 116:
This page intentionally left blank
Page 117 and 118:
Page 119 and 120:
102 Practical Cinematography error
Page 121 and 122:
Page 123 and 124:
Page 125 and 126:
108 Practical Cinematography Lighti
Page 127 and 128:
110 Practical Cinematography the au
Page 129 and 130:
112 Practical Cinematography If we
Page 131 and 132:
Page 133 and 134:
Page 135 and 136:
Page 137 and 138:
120 14 Colour temperature What is c
Page 139 and 140:
Page 141 and 142:
Page 143 and 144:
Page 145 and 146:
128 15 Camera filters We use filter
Page 147 and 148:
130 Practical Cinematography in the
Page 149 and 150:
132 Practical Cinematography effect
Page 151 and 152:
134 Practical Cinematography but in
Page 153 and 154:
Page 155 and 156:
138 Practical Cinematography inch a
Page 157 and 158:
Page 159 and 160:
142 Practical Cinematography to the
Page 161 and 162:
Page 163 and 164:
146 17 Testing Why so much checking
Page 165 and 166:
Page 167 and 168:
150 Practical Cinematography If a s
Page 169 and 170:
Page 171 and 172:
154 Practical Cinematography proper
Page 173 and 174:
156 Practical Cinematography If the
Page 175 and 176:
Page 177 and 178:
Page 179 and 180:
Page 181 and 182:
Page 183 and 184:
Figure 19.1 A wide-angle, medium-an
Page 185 and 186:
Page 187 and 188:
Page 189 and 190:
Page 191 and 192:
Page 193 and 194:
176 Practical Cinematography 0.868
Page 195 and 196:
178 Practical Cinematography TV 1.6
Page 197 and 198:
180 Practical Cinematography This m
Page 199 and 200:
Page 201 and 202:
Page 203 and 204:
Page 205 and 206:
Page 207 and 208:
Page 209 and 210:
192 Practical Cinematography encomp
Page 211 and 212:
Page 213 and 214:
Page 215 and 216:
198 22 High Definition - HD Is film
Page 217 and 218:
Page 219 and 220:
202 Index Colour correction (contd)
Page 221 and 222:
204 Index Lenses (contd) Panavision
show all

1 The Director of Photography – an overview

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?