Steve Laramie
Veteran
Hey I am doing my first dp job for a film starting saturday. Can someone give me some tips and pointers that I may not have already known from film schools I assume alot of you are dp's Thanks
dp tips
- Thread starter Steve Laramie
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Andrew Brinkhaus
Veteran
I wouldn't say "alot." :happy:
The most important thing I could tell you is be very, very prepared to get onto set from pre-production. I've seen great projects fall through, or come up short because of poor pre-production. Make sure you, and the rest of the crew, whatever the size, know what they are there for, and that getting the film shot is the most important thing...Some younger crews tend to lose focus more easily, especially when volunteering. Stick to what you worked on in pre-pro and most importantly, have fun.
Hard to tell you much more, seeing as you didn't give us much of anything to go off.
The most important thing I could tell you is be very, very prepared to get onto set from pre-production. I've seen great projects fall through, or come up short because of poor pre-production. Make sure you, and the rest of the crew, whatever the size, know what they are there for, and that getting the film shot is the most important thing...Some younger crews tend to lose focus more easily, especially when volunteering. Stick to what you worked on in pre-pro and most importantly, have fun.
Hard to tell you much more, seeing as you didn't give us much of anything to go off.
My tip is: remember the remove the lens cap from the lens.
But seriously, use your eyes, and keep in mind that what you see is just light.
Good DP means good light, good scenography, good lenses, good camera and good shots.
(little tip) bring with you reflectors, because you will need them on amost every shot)
.
But seriously, use your eyes, and keep in mind that what you see is just light.
Good DP means good light, good scenography, good lenses, good camera and good shots.
(little tip) bring with you reflectors, because you will need them on amost every shot)
.
Last edited:
HaroonGhauree
Active member
DP is all about getting the best composition out of the available resources. Its not like getting a multi-million dollar look from a zero-budget kit, but its about getting down to the deepest philosophy of the project. If a million-dollar look doesn't support the thematic elements of a project then it doesn't worth a dime to me.
Always co-ordinate and negotiate with the director, production designer and story-boarder as these are the most important persons who will be directly affecting on the compositions that you are getting.
Go ahead with your open mind to all great suggestions to the filmmaker who is manufacturing and assembling the outputs from critical personalities including DP.
Any suggestions ...
Always co-ordinate and negotiate with the director, production designer and story-boarder as these are the most important persons who will be directly affecting on the compositions that you are getting.
Go ahead with your open mind to all great suggestions to the filmmaker who is manufacturing and assembling the outputs from critical personalities including DP.
Any suggestions ...
cyclone
Well-known member
Don't be afraid of backlight. I cringe when photographers give the advice "make sure the sun is behind the camera." Wrong. Everything (people and landscapes) almost always look better backlit. But I agree with HaroonGhauree...you don't necessarily want pretty in a horror film.
Beat Takeshi
Two-Hip Shakur
These are simple but can screw up your day royally
Check your camera a day or before the shoot.
Charge and have enough batteries.
Dont forget to hit the record button.
Clean your lens
Check zebras if not using a meter
make sure your tripod plate is where you think it is. I have seen many times where its either stuck to another camera at home or on a desk where its not accessible.
other tips
Shot and lighting wise, you should have figured that out already with story boards and speaking with the director. If you havn't, do that FIRST before anything BEFORE the day of the shoot. Other wise much time will be wasted.
let the camera run a little longer after a shot, you may get something not expected
Shoot them while they are practicing lines, you may get something not expected Shoot cut aways while they are rehearsing if you can
Bring more lights than you need and have them on stand by even if you dont use them
Have more than enough extension cords and 3 way splitters
gels
scrims
a flashlight if you blow a fuse and have to go down to the dungeon and flip the breaker....find out if they have breakers or old school screw in fuses, get some if they have these
Dont leave your camera on a tripod in the middle of the room, some douch will definitely trip over it at some point
Turn your cell phone off, theres always one that goes off no matter how many times the AD says turn all phones off before every take.
Check your camera a day or before the shoot.
Charge and have enough batteries.
Dont forget to hit the record button.
Clean your lens
Check zebras if not using a meter
make sure your tripod plate is where you think it is. I have seen many times where its either stuck to another camera at home or on a desk where its not accessible.
other tips
Shot and lighting wise, you should have figured that out already with story boards and speaking with the director. If you havn't, do that FIRST before anything BEFORE the day of the shoot. Other wise much time will be wasted.
let the camera run a little longer after a shot, you may get something not expected
Shoot them while they are practicing lines, you may get something not expected Shoot cut aways while they are rehearsing if you can
Bring more lights than you need and have them on stand by even if you dont use them
Have more than enough extension cords and 3 way splitters
gels
scrims
a flashlight if you blow a fuse and have to go down to the dungeon and flip the breaker....find out if they have breakers or old school screw in fuses, get some if they have these
Dont leave your camera on a tripod in the middle of the room, some douch will definitely trip over it at some point
Turn your cell phone off, theres always one that goes off no matter how many times the AD says turn all phones off before every take.
keep in mind, lighting continuity. thats very important, but at the same time, moving from a wide to a CU, you can make the lights on the faces brighter without anyone noticing. DO NOT EVER use the exact same light setup for a wide as for a CU. its just not possible to light a whole scene from far away, and still have the light on the face look its best for the CU shots. get creative, my new favorite toy, is a 18" sheet of blackwrap, and a 120w tungsten bulb, made into a "light taco". fold the blackwrap over the bulb so a sliver o light comes out one end, then stuff diffusion like lettuce in there... you get an amazing eyelight and it can help punch uip a face in a CU without being obnoxious.
Steve Laramie
Veteran
Thanks for the tips so far. To make it easier its a movie that starts off sad middle is happy end is sad. Alot of it takes place in doors and at night. We are using hvx200 with about 10 arri lights jells reflectors dolly crane steady cam. And a 35mm adapter.
