How do YOU look for a cinematographer?

C

c.g._eads

Veteran
I was thinking about how directors choose cinematographers and I was wondering which way they chose them. Cause there's two ways.

1) Do they choose them because they've seen them already do the exact work/look that they're looking for in their next film?
or
2) Do they choose them because they see something in their work that makes them think they'll be able to acheive the look they're looking for in their next film?

I don't like to be pigeonholed and I know cinematographers don't like to be either. So if they're going to show a different look, someone's going to have to give them the opportunity to do so. For instance, if you have a really talented Horror cinematographer, what makes you think he can acheive just as good of a look on a coming-of-age film? Can you look for things in his work besides "ooh, that shot looked good"? Or should you just be lazy and go with someone who's already shot a coming-of-age film? Of course, then you run the risk of your film looking exactly like the one they already did, with nothing new brought to the table.

Oh man, how do you choose a cinematographer?
 
in gerneral- i find that most producers/directors look for the "look" they want or something close to it or they have worked with DP before ( could have been commercial, DP did 2nd unit , short .. or another director/producer gave recommendation)
in general i find too many DP reels to be too music video'ish - loud music , quick cuts - remember you are looking at lighting/camera not how fast your foot keeps time to the music .. the 1st time i look at DP reels i turn the audio OFF.
many DP's will have a 1-3 min intro quick cut to music then they have longer scenes after that .. if you get a reel without longer shots/scenes BEWARE ....
on low/no budgets sometimes its who's available or who has what equipment - we all know what camera shouldn't but then you have 500 week to pay DP - DP X has a dvx100 & DP Y has a cineAlta 900 - you prefer DP X but hey the project will look great in HD .. whom to you spend the 500 wk on ??
 
I am a DP, not a Director, so I'm not sure what the process is on the Directors part. However, the Directors that have chosen me did so because they had seen my work and trusted I could create great images in a variety of looks.

Obviously, of prime importance is that the DP can create great images. Half the job or more is lighting or controlling light. The other half is the technical side, do they know how to get the most out of the camera that will be used (can they capture those great images)?

Finally, so much of the success rests in the DP's hands that you better trust this person and be able to communicate with him effectively. He should primarily be interested in helping you tell your story (not just filling his reel).
 
i get hired both ways.

Some people hire me cause of my past work, and other shire cause they know i can create something new.
 
donatello said:
on low/no budgets sometimes its who's available or who has what equipment - we all know what camera shouldn't but then you have 500 week to pay DP - DP X has a dvx100 & DP Y has a cineAlta 900 - you prefer DP X but hey the project will look great in HD .. whom to you spend the 500 wk on ??
Click to expand...

lol that's good advice and all but it's funny to me because if DP Y charged as much as DP X he'd be raping hiself.
 
i've seen a few ads out with directors looking for a DP and a lot of times i've seen some kind of additional comment like 'need a DP who doesn't want to be the director' or something to that effect.

do most DP's come off this way or something?
 
These are normally very difficult to find, but with a bit of patience and some bait, you are sure to snag one when you least expect it.

try around 6:45 - 7:13 am. If it's slightly foggy outside, all the better.

Hint * Try looking near rocks, boulders or anything else that stone-like.
 
FilmBoy77 said:
i've seen a few ads out with directors looking for a DP and a lot of times i've seen some kind of additional comment like 'need a DP who doesn't want to be the director' or something to that effect.

do most DP's come off this way or something?
Click to expand...

I wouldnt work with a Director with an attitude like that. Thats not only rude and unprofessional, but thats basically a guaranteee that youre going to have issues with that director. Clearly he does not respect the roles his crew play, and most likely wants to controll EVERY aspect of the project. not only is that not fesible on most productions, but it leads to either a poor finished product, or a good finihsed product at the expesne of the relatonship between the director and th Crew.
 
donatello said:
in gerneral- i find that most producers/directors look for the "look" they want or something close to it or they have worked with DP before ( could have been commercial, DP did 2nd unit , short .. or another director/producer gave recommendation)
in general i find too many DP reels to be too music video'ish - loud music , quick cuts - remember you are looking at lighting/camera not how fast your foot keeps time to the music .. the 1st time i look at DP reels i turn the audio OFF.
many DP's will have a 1-3 min intro quick cut to music then they have longer scenes after that .. if you get a reel without longer shots/scenes BEWARE ....
on low/no budgets sometimes its who's available or who has what equipment - we all know what camera shouldn't but then you have 500 week to pay DP - DP X has a dvx100 & DP Y has a cineAlta 900 - you prefer DP X but hey the project will look great in HD .. whom to you spend the 500 wk on ??
Click to expand...

500 a week is chicken feed. Thats 90$ a day (if you work only 6 days, befoe taxes/SocialSecurity). McDonalds employees make that much. No offense to McDonals Emplyees.
 
$500.00 a week??

Its $550 - $650 a day here for anyone even half decent. And Oh... PLUS camera... So you are looking at between $900 - $1500 /day depending on the gear.
 
I don't need to look since I shot my own but if I were to be looking I would look for consistancy in the shots, a wide range of focal lengths, color, framing, lighting. If the look isnt on the reel Im looking for I would rather find someone consistant and work with him to get where we want to be.
Also, they have to be a cool person. No room for douchbags in my life.
 
I love this line from the second post. Sounds like the author has some personal issues!

"Ultimately, the main problem with cinematographers is that in many cases they are not a true member of your team -- they really do not care about your project."
 
If you read some of that author's other works, you'll get to see that he's certainly got his own way of doing things that I don't think I'd recommend for most people.
 
You must log in or register to reply here.
Back
Top