I'm a DP? who'd a thunk it

scharky

scharky

Veteran
:shocked: So here is the deal.
I just got offered an opportunity to be the DP for an upcoming short film by a local production company. The thing with this film is that it will be shot on 35mm and although I am a photography major, and have lots of film experience, as well as lots of super 8mm experience,and digital film making experience, i have yet to work with this format. I explained to the director my situation, but said that I would be willing to do as much research in the meantime, the shoot will be this summer, to prepare. I also offered that there would probably be others with more experience than I, but he said that my work fit better with what he had in mind. The film will also be telecined and edited digitally, as well as putting me in charge of the Davinci Color correction:) yipppeeeee.
So in my research to find out as much as I can with working with the 35mm format, I was wondering if anyone had any good books, or websites in which to check for basic to advanced camera operation, film stock properties and overall help in shooting 35mm. I do have a strong background in photography, digital movie making and lighting for both film and digital, I just don't want to look like a fool when someone asks me for a C-41 (yes I know what THAT is) but I want to avoid similar situations. I will work closely with the director through the storyboarding, blocking, lighting, shooting, composition, film stocks, lenses, color correction, and final editing of the film, so I want to be as prepared as possible. Again, any advice will be appreciated. I am in this for the experience mainly, I think this would be a great opportunity for me to work on something that wasn't written, produced, directed and edited by myself. Any advice you have will be great.
thanks

Stefan
 
Do ya mean a C-47? C-41 is chromagenic film. Been doing too much photography!

You get to work with a DaVinci?? SWEET.:thumbsup:
 
jeees, see what i'm talking about. I'm not even going to edit that on my original post just because it's funny. Yes I have been doing to much photography, infact I was giving a demo today in my class for alternative processes and we were taling about C-41 and E-6, not clothes pins.:(
Thanks TC for pointing that out and making me look like a fool.:thumbsup:
you saved me from the yelling on the set "SOMEBODY GET ME A C-41", blank stares, "SOMEONE GET OFF YOUR ASS AND GET ME A C-41", here you go mister Scherperel as he hands me a roll of Fuji Superia ASA400.:embarasse
 
My friend just bought the ASC manual (or something--availible for video and film; he got film) and it's pretty intense. It's a tiny little book and costs about 150 dollars, but he got it on ebay for 35. It deals with focus charts, lighting styles, everything technical, and tons of artistic stuff too. DEFINITELY the first thing you want; it's what every cinematographer refers to before anything else or so he claims.

It's pretty sweet, but a total rip off. If you get it used, though, it's not so bad.

I think it's normally called "The American Cinematographer's Manual" but is produced by the ASC.
 
Sweet, I'll definitly check it out. It is a great opportunity, and one that I would gladly do just to get my foot in the door. I excited, but nervous as hell, as you can probably see from my previous posts.

ok I found the book on Amazon, however there seem to be different versions, one says that it is the ninth edition, the other just says that it is the american cinematographer's manual, here are the links.

http://www.amazon.com/exec/obidos/t...002-4577466-4608859?v=glance&s=books&n=507846

or

http://www.amazon.com/exec/obidos/t...002-4577466-4608859?v=glance&s=books&n=507846

They both are published by the ASC, but they have different authors. HMMMMM, Any idea Policar?
 
Thanks for the link TC. Ok, nobody mention this ever again. I'm giddy with nervousness. Maybe I should wait till tommorow to order anything on the internet. I might end up with a puppy and a blow-up doll via fed ex on monday, instead of my book.:undecided
 
By the way, thanks for the quick responses. If anyone has any other suggestions I am open to hear them. I think I'm going to try to sleep now.
 
Emulsion tests. You want to do as many camera tests as you're allowed using the stock you plan to use. Get a good feel for the stop range of each stock as well as the look when pushed or pulled.

Buy the ACM (the bible). I think it's a valuable resource for anyone in filmmaking, for people actually shooting film...it's extremely helpful. I use mine regularly regardless of shooting medium.

Prepare yourself well so that you're not feeling like a hack when you walk on set that first day, and be thankful that someone is giving you their trust. You've already shot film so you have a good idea of what different light looks like on different stock, now you just need to apply that to motion. If you do your homework between now and then, you will have the basis you will need. If you really bust your ass, you might even become comfortable with 35 by the time you need to step on set.

quick story:

When I was fresh out of school, a friend of mine got an offer from a graduate thesis director that we had both talked to for her upcoming feature project. Her DP dropped out at the last minute, and she wanted to ask my friend and I both to DP her film. Before even asking me what I thought, he turned it down for the both of us because he didn't have any confidence with film. Instead, he negotiated other job positions for us on the shoot and I only found out after we were hired that we were originally offered the DP job.

On set, he came unprepaired and didn't feel comfortable asking for help from anyone else on the camera crew. He ended up jamming a couple of mags because he loaded them incorrectly and he walked off the shoot a few days later.

The point being that he got scared off the set because he didn't have confidence in his abilties to learn. He declined the DP position because he thought the task would be too difficult, and he built a bad reputation because he couldn't admit that he needed help.

That guy isn't working in film anymore. Don't be that guy.

Get your ducks in a row before you walk on set and you WILL do a good job. It's all about preparation.
 
scharky -- congratulations first of all!
make sure you get a chance to test.. it's anyway a must, even super experienced DP's deserve to have it done before a production starts. seconds, engage yourself with an experience gaffer, as he/she would be a great support for you as a 35mm first-timer.. the major difference between what you've done until now to a 35mm job is pretty much all about lighting.
third - make a good and close contact to the lab you'll be working with. they should be your best friends.. i'm serious here. this is also where you should go and admit you're a beginner in this format and need they're support. if they're professional and kind enough, they will help you.
that's it.. all the rest is your talent, don't let anyone make you feel you don't know what you're doing by mentioning secret codes, numbers or letters.. your talent as a DP is way beyond those stuff. working with film is not necessarily more difficult than digital.. it just involves some factors that need to be learned and could basically be easier, because film is more flexible and eventually more fun to work with.
just make sure you know what you're up to, have a clear vision of what you need and want to have and communicate with your technical supporters in order to get there.

goodluck!!!!
 
Stephan,

Congratulations! Now, you just need to do the following:

- Find out if you're lensing Panavision or Arri or Moviecam. If you are lucky enough to shoot Panavision, go to Los Angeles and take their complimentary 1st assistant course for the Millenium / Platinum / Gold cameras. This is (was when I took it) a one day course on the camera's basic operations - from wind to shutter to where you hang your sunglasses.

- Get a copy of the ASC manual. I bought one a couple of years after the new tabular emulsions came out and it provided great guidance to me as we experimented in Super16 and 35mm. There is no equal, and the leather bound book will find a permanent home in your ditty bag. Also good is Kris Malkiewicz' Cinematography book and the Panavision User Manual.

- Go to the ASC board or the Local 600 board and lurk. Those guys speak a different language that we do here, and you'll learn volumes. You have a challenging task in that you should be well-versed in lens choices, emulsions, exposure and bracketing - well, anything to do with shooting film! The big things should be easy to find, smaller tips and tricks abound (e.g., use the grease from the sides of your nose to lubricate the film gate).

There are great books on grip work - which you should have a basic knowledge of as you will be expected to communicate your needs to the key grip and master electrician et-cetera. There was a Grip Handbook and the Grip Book - both well written. Can't usually go wrong with anything from Focal Press.

There is a great deal of information out there - just absorb as much as you can and listen, listen listen!
 
Man, you guys rock. I go to bed last night only to wake up at 7Am to a plethora of responses. I am ordering the ASC manual today.
Jbarnes, I will definatly try not to be the guy in your story, that would suck and then I would have nothing else in life to live for.:cry:
Shai, the director has decided to use Seattle grip and lighting, so they are very professional, and I will need to get a good raport going with them. The director also said that if I have someone else that I am comfortable working with to, "bring them along", so I am glad that I have that option.
Overland, The director said that we would probably be using an Arri with zeiss primes. We still have yet to decide on an exact camera, but if we do use a panavision I will be sure to check out that seminar. I will also have to check out the ASC board. Thanks again for your comments and reccomendations, I figure this is the most important project that I have right now in my career so I need to make it the best that I can.
 
So, everyone comes here to DVXUser to find out how to make their video look like film. Where can you look to find out how to make your film look like video? :grin:
 
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