Advice for new DPs

mejonwhite

mejonwhite

Member
Hey guys,

As part of my university course I have to put together a report on the state of the industry. Part of that is to look at a specific field of my choice. Mine is cinematography. I was wondering what advice would you give to a new Dp entering the industry. Something along the lines of: technical skills, industry knowledge, experiences, qualifications, contacts, ideas, abilities, commitment, enthusiasm, determination, communication skills.

Thanks for reading and all advice is welcome!

I'm in my second year of a 3 year film production course, and one of our assignments this year is to look at the ever changing state of the industry, and how that affects your field of coice. Mine is cinematography and the role of the DOP. I was wondering what kinds of advice you guys would give a new DP entering the industry. Something along the lines of: technical skills, industry knowledge, experiences, qualifications, contacts, ideas, abilities, commitment, enthusiasm, determination, communication skills.

Cheers for your time guys and any/all advice is welcome!
 
A friend tells a true story about his first day at photography school. The instructor walked into the classroom and advised, "Sell all of your equpment now, while the prices are still high!"

+++++

Always go for greatness with your images. Don't be afraid to be bold.

Don't get too bogged-down in learning the technical and logistical particulars of lighting. A slight amount of naivete' allows one to fully consider a challenging option that someone more technically experienced might dismiss outright.

Contacts, salesmanship and networking skills are often more important than talent.
 
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Put yourself in an environment where you can learn for an extended period (almost like an apprenticeship).
Try to get a gig that gives you access to physical production, observe, then put everything you've learned into practice, frequently.
 
Work at a rental house. Take lots of mental notes.

While you do this, try and get on set as much as possible to put the things you've learned into practice.
 
bill totolo said:
Put yourself in an environment where you can learn for an extended period (almost like an apprenticeship).
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+1. I did my first "real" work right out of college camera operating for a member of the ASC. Obviously my working with him was random dumb luck, but I learned more from him on one shoot than I did my entire 4 years in college (including my internships with production companies).

Even if you are just a PA on a set, try to get on one (preferably one with a decent budget). Even if you don't work directly under the DP, watch and learn. Sometimes seeing things done, hearing things said, and being part of the collective process can give you ideas that you had never even dreamed of. Part of being a cinematographer is being creative, and that means innovating! Take what you see, hear, and learn and make it your own. Imitating is one of the BEST ways of learning, so recreating lighting designs and set ups that you see on a set can help you understand why they were used and how you can use them to fit your specific needs.

As far as technical skills...it is good to have an understanding on digital cameras and workflow. Obviously film is what a lot of the major players use, and what every digital filmmaker strives to achieve the look of, but realistically most small and low budget productions are going to shoot on a digital camera because it is cheaper. That said, try and do as much reading as you can on different types of cameras, what different settings give you, and how different types of sensors work. Obviously CCD sensors are going to give you a global shutter (all pixels are taken at the same time) and CMOS sensors are going to give you a rolling shutter (pixels have a batting order and are not taken at the same time which gives you a jello effect).

As far as qualifications...obviously your GPA can be very important for certain things like: applying for scholarships, applying for internships, and applying for grad school. If none of those things are of interest to you, then your GPA isn't really important (unless keeping it high keeps you in a certain program, or your school has a minimum GPA requirement to stay enrolled). Out in the real world, no one is going to care if you got a 4.0 in college, they are only going to care about a few things: can you get the job done? Will it be quality work? Will it be cost effective? Does he/she have examples of previous work that is high quality? ...I'm not saying go blow all of your tests, I'm saying don't overlook the value of a good show reel and work ethic.

As far as contacts...make as many as you can! My college roommate did a film program for a semester that consisted of ONLY film related courses. He met a lot of other students with similar aspirations to us both. In turn I met a lot of those people. One of them has called me MANY times for random help with projects and to DP projects (including two upcoming features this next year with a lot of money and name talent attached). Don't overlook the value of networking. Network as much as possible, but also understand that some people just aren't worth your time. Get some business cards made, give them out to everyone you meet in the industry (or anyone you feel might help you along the way), and make sure to have a good strong handshake.

As far as ideas...as a DP your job is to be EXTREMELY creative. When you are DPing a project, your insight is needed 110% of the time. When you are working another position, such as PA, your insight is not needed and sometimes (most times) not welcomed. Respect has to be earned and the way that happens is through hard, good quality work. Once you are respectable and your insight is wanted/needed, you are free to express yourself through the art of photography.

As far as communication skills...being an artistic person can sometimes take away from your ability to be "socially normal." That said, try and do some research (or take a class) on body language and how physical subtext can affect how someone perceives you. You might be saying one thing and your body be saying something completely different. Be open and honest with people when needed. I can't tell you how many people in this industry beat around the bush! Most seasoned producers no longer put up with that kind of nonsense and will ask you questions point blank, which can be a good thing (at times). Understanding someone's personality type and communication style can help YOU communicate better with him/her. Some people like pleasantries at the beginning of conversations, others like to jump straight to the point and not waste time.

Something you forgot to ask about is MARKETING YOURSELF. I stated previously that you should consider getting some business cards made. That said, make sure they are nice, high gloss, and well designed cards. No one is going to take you seriously if you give them a tacky card that you printed off of your home printer. Have a friend who is good with graphics design you a card and have it printed at a professional printer. Giving off a good appearance (a nice card) can be the difference between booking a job and not even being called. Something that they don't teach you in film school (which I sadly know now) is how to be a business person. If you can, take an online "small business management" course. It will change your opinion on how you should market yourself and how you deal with things from an ethical standpoint. Obviously making money is easy if you step on the backs of people, but it will leave a bitter taste in your mouth as well as the mouths of the people you stepped on. Making money the ethical way is more difficult, but in the end more satisfying and rewarding.

I hope that this helps you. Best of luck on your report and if you have any more questions don't hesitate to ask!
 
Just wanted to say thanks a lot for all your help guys - got my assignment done with a massive 1 minute to spare and used nearly all the information and advice you offered up.
 
This may seem a bit pedantic, but it's really not.

The idea of a "new DP" is a bit troubling, because to be a Director of Photography, you need to go through various steps first. Being a DP isn't the same as being a cinematographer. The two shouldn't be confused.

There's an incredible amount about the craft that you have to learn before you should even think about being a DP. You need to learn cameras inside and out. You need to learn lighting inside and out. You need to know the craft thoroughly before you can be the guy in charge of making the images.

As Levie Isaacks puts it, you can be a first-time director, or you can be a first-time writer, but you can't be a first-time cinematographer and be an effective DP.
 
That's a good quote. I like the one, "There are two entry level positions on a film production...PA and Director."

Do you know Levie? He was a professor in my Film and Television Dept for a short time back when I was studying and he is a very cool guy.
 
mejonwhite said:
Just wanted to say thanks a lot for all your help guys - got my assignment done with a massive 1 minute to spare and used nearly all the information and advice you offered up.
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No problem. Glad you got your assignment done. I know exactly how it goes with those last minute assignments, haha. Best of luck in your future endeavors!
 
David Jimerson said:
This may seem a bit pedantic, but it's really not.

The idea of a "new DP" is a bit troubling, because to be a Director of Photography, you need to go through various steps first. Being a DP isn't the same as being a cinematographer. The two shouldn't be confused.

There's an incredible amount about the craft that you have to learn before you should even think about being a DP. You need to learn cameras inside and out. You need to learn lighting inside and out. You need to know the craft thoroughly before you can be the guy in charge of making the images.

As Levie Isaacks puts it, you can be a first-time director, or you can be a first-time writer, but you can't be a first-time cinematographer and be an effective DP.
Click to expand...

Good quote. I agree that DP's need to know lighting inside and out as well. I know that David Mullen, ASC is (not literally) obsessed with lighting. I have read posts by him saying that he gets upset when he asks for a certain piece of equipment and the Gaff brings back another. Also, I once worked with Johnny E. Jensen, ASC and he moves like no other individual I have seen on a set. He was directing and DPing the shoot and had the most creative ways of fixing his lighting problems, it was amazing.
 
mejonwhite said:
Just wanted to say thanks a lot for all your help guys - got my assignment done with a massive 1 minute to spare and used nearly all the information and advice you offered up.
Click to expand...

Somebody wiser than me once said, "if it weren't for the last minute, nothing would ever get done!"

Congratulations.

- Greg
 
If you want to talk about the life span of a cinematographer... someone once told me it goes like this... and I'll use my name as the example:

The Career:

"Who is Ryan O'Hara?"
"Get me Ryan O'Hara!"
"Get me someone like Ryan O'Hara, but not as expensive!"
"Who is Ryan O'Hara?"
 
Ryan Patrick O'Hara said:
That's a good quote. I like the one, "There are two entry level positions on a film production...PA and Director."

Do you know Levie? He was a professor in my Film and Television Dept for a short time back when I was studying and he is a very cool guy.
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He's on the Lighting DVD, which is where I pulled the quote from. :)
 
Although I gave myself the credit of DP on my feature, I don't wear that title with pride. I'm far from being one with confidence. I hope one day I can confidently call myself a "DP" but that day isn't today, and it won't be tomorrow. That title has become cheapened big time.
 
Ryan Patrick O'Hara said:
If you want to talk about the life span of a cinematographer... someone once told me it goes like this... and I'll use my name as the example:

The Career:

"Who is Ryan O'Hara?"
"Get me Ryan O'Hara!"
"Get me someone like Ryan O'Hara, but not as expensive!"
"Who is Ryan O'Hara?"
Click to expand...

I would have to say that I agree with that statement. I have a friend (more of a mentor) that I consider to be the master of period piece films. He used to get jobs handed to him like free samples, now he's having difficulty getting work and is struggling to financially support the lifestyle that he has set for himself and his family (IE cars, house in Malibu, child's college tuition, etc).

I guess it's always a good idea to put some money away in anticipation of the turn of the tides, or at least have a backup plan for when films are no longer something you're called in to do.
 
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