Michael Morlan
Member
Commercials, music videos, and short films have always served as the vanguard of new cinematic vision. It is in these short forms where experiments and risks may be taken, especially when an advertiser is trying to capture the attention of a media-saturated audience.
As an example: The Matrix "bullet time" effect first appeared as a "freeze time" effect in those Gap commercials where a bunch of models/dancers would jump, the camera swing about their frozen forms, then time would continue.
Edalgo, as it happens I'm working on an article called "Care and Feeding of your DP - Keys to a Successful Collaboration." Here are some incomplete thoughts and musings that might serve here as well:
When approaching a DP selection process, consider asking yourself a couple of key questions that may build a set of parameters to guide you through interviews;
o What do I want from a D.P?
o What does a prospective D.P. want from me?
Questions that may arise from those two leading questions may include;
o past work - Is there a sense of lighting/framing/movement that suits your project? Does his work reflect a variety of styles or a singular aesthetic? Does his work serve the story or call attention to itself?
o experience - Is your candidate familiar with the tools and process of the craft? Can he work quickly? Is he a good leader/mentor to his team? Does he find time for the details that perfect an image with the time given?
o work style - Do you and your candidate express yourselves similarly? Does he ask insightful questions about your script, your process, your story? Does he offer input and suggestions without seeming forceful? Does he seem excited about your project? Does he serve the film first? Can he work effectively within the constraints of your project? If you are a vision-focused director, will he respond to your specific direction? If you are a story/actor focused director, can you rely on him to offer ideas for lighting/composition/movement? Can you place your trust in your D.P? Can he do "good enough" or will he insist on perfection that threatens your schedule?
That's all I can think of at the moment. I'm sure there are many more parameters that each of us have to assess potential collaborators.
Have fun out there!
Michael Morlan
http://michael-morlan.net
http://austinfilmtools.com
"In a land. In a time. In a land before time."
As an example: The Matrix "bullet time" effect first appeared as a "freeze time" effect in those Gap commercials where a bunch of models/dancers would jump, the camera swing about their frozen forms, then time would continue.
Edalgo, as it happens I'm working on an article called "Care and Feeding of your DP - Keys to a Successful Collaboration." Here are some incomplete thoughts and musings that might serve here as well:
When approaching a DP selection process, consider asking yourself a couple of key questions that may build a set of parameters to guide you through interviews;
o What do I want from a D.P?
o What does a prospective D.P. want from me?
Questions that may arise from those two leading questions may include;
o past work - Is there a sense of lighting/framing/movement that suits your project? Does his work reflect a variety of styles or a singular aesthetic? Does his work serve the story or call attention to itself?
o experience - Is your candidate familiar with the tools and process of the craft? Can he work quickly? Is he a good leader/mentor to his team? Does he find time for the details that perfect an image with the time given?
o work style - Do you and your candidate express yourselves similarly? Does he ask insightful questions about your script, your process, your story? Does he offer input and suggestions without seeming forceful? Does he seem excited about your project? Does he serve the film first? Can he work effectively within the constraints of your project? If you are a vision-focused director, will he respond to your specific direction? If you are a story/actor focused director, can you rely on him to offer ideas for lighting/composition/movement? Can you place your trust in your D.P? Can he do "good enough" or will he insist on perfection that threatens your schedule?
That's all I can think of at the moment. I'm sure there are many more parameters that each of us have to assess potential collaborators.
Have fun out there!
Michael Morlan
http://michael-morlan.net
http://austinfilmtools.com
"In a land. In a time. In a land before time."
. I also want a DP who will take care of the lighting (someone on here said that it is the DP's responsibility to do the lighting, since the DP is the Director of Photography after all). I'd love to read your column when it is finished (when will that be?).