Are DPs expected to have their own lighting kits?

Finnegan said:
Ahh, what a community we have here. I'm at that point where I feel comfortable shooting with most digital cams. Unfortunately, I have never had the chance to shoot film and to be honest, it's quite daunting - not being able to see a real-time image of what you're shooting besides looking through the viewfinder of the camera, using lightmeters, not having the option to playback footage you've just shot - it's all kind of scary. But, that's what film school is for: to make it not scary, to make it awesome.

Also, I worry that with all the hype surrounding Red Digital Cinema nowadays and me being a cinematographer with absolutely zero experience shooting Red, that some directors (who may or may not know what the Red even brings to the table) decide to shoot Red because that's what everyone else is doing, and therefore select a different cinematographer when I could have been the better option. I know in most cases the DP is who decides what format to shoot on to best reflect the film's theme, story, and other elements - but often times this isn't the case on ultra low budget productions. How do you combat that? How do you tell a director that an HPX170 or XH-A1 is capable of achieving what he wants when he's set on shooting Red?
Click to expand...


Film is dirt simple and not daunting at all. I shot film when I started because that's all there was at the time. If I could do it, anyone with a technical IQ higher than a brick can do it.

As for Red, yes it produces phenomenal images. Its also the simplest shooting environment I've ever used. If you're so worried about not having shot with one, then go snag yourself a Red and start shooting. There isn't even a line up anymore.

People hire me because of the work I've produced. Not because of some hunk of iron. As for technology, its made things easier than ever and it was simple to begin with.

Just believe in yourself.
 
You must log in or register to reply here.
Back
Top