No Demo Reel

D

DDirector

Veteran
I have been applying to several jobs but kept on being put down because I don't have a demo reel done.

I have shot a lot of things, but I am a DP and I don't generally shoot my own stuff especially when done in College. We always get stuck with a camera operator who can't do things well, and just have to deal with it.

So, most of the stuff I would like to use I can't because they can't simply frame a subject. I wish we could fire people haha.

Anyways, I can't use most of the footage because its crap, so is it olay if I just shoot a whole bunch or random 5sec clips or so and add it all in my demo reel?
I've seen several demo reels and most of the time you can't tell if they came from actual films or just shot for fun and put into a reel.

Should I do that since I don't have anything to show?
 
EDIT: Ha, I shouldn't reply to posts while in the middle of something. I only skimmed the OP's post, and when I saw "DDirector" and "I don't generally shoot my own stuff," I somehow made the leap to a DP struggling with a Director's reel. I guess I should stop posting on DVXUser while at work :P

In that case...completely agree with the post below. Shoot what you want to be shooting. Your reel should exemplify your style and skill at the craft. The fact that you don't operate as a DP still kind of throws me, and I would still recommend getting out with your camera and shooting - if anything, to improve your shooting skills. I would wager that most jobs you have missed because you didn't have a reel would have asked you to operate, as well. It's important to at least a have a fundamental grasp of operating.

Shooting for the sake of shooting could work for you, but you still have to have a game plan. You will still need to think about your lighting - even if it's available light - and your framing, and you will need to plan your shots accordingly. It is also no myth that compelling performances and production value add to your reel, if for no other reason than it shows you have worked on projects with a budget or projects that were simply good. I've had clients/producers/directors ask me about particular shots in my reel because of the production design and not the lighting or framing - the budget, the size of the crew, what the film was about, etc. - it helps. They wanted to see my style and capability, but they were also interested in the kinds of films I've worked on. A reel can be just as effective as a visual resume as it can a demonstration of your style and skill.

That said, if you spend some time location scouting, you could really come up with some awesome shots. I, too, have seen reels where it's hard to tell if the shots were from an experimental film, a narrative film, a documentary, a music video...or any film at all - perhaps they did just go out and shoot for fun. It can work.
 
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Jordan, this is not a Directing reel. He's a dp. While little two minute scenes will help directors, I feel like doing this as a DP can get very monotonous.
In most dramatic scenes you don't want to cinematography to distract you from whats happening.

Shooting shots just for the reel isnt a terrible idea. There are a few on my reel that came from doing tests. I will say that you should fill your reel with footage like you want to be shooting.
If you want to shoot comedy have comedy on your reel. if you want to do commercials put commercial esque material on your reel.

Also, being given an operator should not excuse bad framing. You are the DP! Communicate to the operator, Guide them, Motivate them to get you what you want (which should also be what the director wants)
 
In your case, where apparently you have the choice between **** and nothing - I would definitely do something location scouting and storyboarding, take your camera out and go shoot some singles, or as you put it "random 5 sec clips". If I were you I'd grab a good pocket dolly, storyboard a bit - and then go shoot. Maybe grab a few friends and shoot some shots that involve people. Some mock dialogue scenes or something.
 
Oh, I don't by any means want to go and just shoot whatever just to grab footage as fast as I can.
I want stuff that will look like it was done on a bigger budget (have good locations, props, wardrobe, etc.) I can put work into it just to fill my reel up.
I wont cheap out on that stuff to make a quick reel.

Since I'm a DP (Yes, my name says director, but that's not related) I want to do stuff with cool lighting shots/styles too.
Pretty much everything I want will be planned and what not.

BUT, having a timelapse of the stars, or cars driving at night, or trees moving in the wind. <-- Having shots like that. Is it worth doing that and putting it into a reel?

And as Jordan Scott Price said, what if they ask me about a specific shot.. All I have to say is that it really wasn't from a short film I made, it was test footage.
It worries me if someone may ask something like that. Thats why I dont know if I should do these "random 5 sec clips" as they will not be from any short film.
 
DDirector said:
BUT, having a timelapse of the stars, or cars driving at night, or trees moving in the wind. <-- Having shots like that. Is it worth doing that and putting it into a reel?

And as Jordan Scott Price said, what if they ask me about a specific shot.. All I have to say is that it really wasn't from a short film I made, it was test footage.
It worries me if someone may ask something like that. Thats why I dont know if I should do these "random 5 sec clips" as they will not be from any short film.
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Do you want to be doing shots of cars at night and time lapses of the stars?
If so, shoot those. There are some people who only want to do that. Check out Tom Lowe over at timescapes. He's made a career out of beautiful timelapse work. I'd go crazy doing that sort of work.
I'd look at several reels for dp's that you like and examine them. What about then do you like? What kind of content do they make? Do they have a style? What is it?

As for explaining shots on your reel that's up to you. There's always the "fake it till you make it" way.
I know several people who have done this. I think saying it was a test isn't a bad idea.
 
DDirector said:
And as Jordan Scott Price said, what if they ask me about a specific shot.. All I have to say is that it really wasn't from a short film I made, it was test footage.
It worries me if someone may ask something like that. Thats why I dont know if I should do these "random 5 sec clips" as they will not be from any short film.
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If it's in your reel for a reason, talk about that reason. "I included it in my reel for you to see an example of my work doing X. I have yet to be contracted for a project doing X, but I am really looking for some opportunities where I can provide my services doing X." It's also not uncouth to add on "I'd like to do X and improve at it on a new project."

A reel is like a resume. You can defend why you chose to include certain things. For example, if you were more of a "cameraman," in today's terms, your reel might have everything from ENG to doco to narrative film to sports to weddings, since you operate a lot but are also capable in lighting. I have friends in DFW that are jacks of all trades like this, and their showcase reels are a veritable hodgepodge of their work. My point is - that kind of individual includes samples from all of those works to show his range and experience, which opens him up to more jobs. If asked why he included something, he could easily defend it.

If you're asked why you included a timelapse shot you did when you had some free time, you best not reply with "because it's pretty." That timelapse shot should exemplify your style, skill, and the kind of work you do.
 
You can offer your services for free to a small business. Offer to make them a 30sec web advertising video for free. 3-4 of those + 1-2 videos of random stuff and your portfolio should be good.

You're in Oakville....get some shots from Hamilton bridge, Niagara escarpment in Milton, Niagara Falls, or go up north to Barry or Parry Sound and shoot some nature -- lots of stuff to shoot in Muskoka at any time of year....just gotta make time.
 
I can relate to your situation. I worked on several indie films with budgets, union actors, and I actually even got PAID for my services and I wouldn't stick it on my demo reel now or ever! What a shame.

Having said that there has got to be some clips to the projects you've worked on that can be used.. if you can get your hands on all the original footage I'm sure you can edit together your own sequence. I've done that when the work was less than I expected.

Also incase you are interested in doing some test scenes together with actors or what not please let me know, I am in the Mississauga area not far from you and with the new Sony F3 35mm camera I purchased for my production company I too am eager to build up my reel.

We can work on some stuff together and accelerate the process :D
 
you need some humans in your reel shots, here's a little trick that you could use if necessary: find some acting schools and ask them if they would like you to film their rehearsals or whatnot. you get some shots for your reel and give them a dvd or link to what you shot. don't bother with good vocal audio, use a music track for the reel. at the very least that will give you the chance to show in your reel that you can do the basics of good framing and proper exposure.

one of infinite things you can do
 
I was thinking about doing this with MAINLY actors. Maybe a shot or two without. Possibly a time-lapse shot, or some establishing shot. But, I dont know if I will be doing any time-lapse stuff, so I guess I shouldn't be including it? -- What IF I have a cool establishing shot, that's okay to use, right? Because that can always come from a movie and I will be doing them.

I just want to work with some actors in full costume and act out a couple of scenes (silent), making it seem it came from a movie. Several different actors, different costumes, different locations, different actions, different shots and lighting conditions, but all at a very good quality and just throw it into my reel.

starcentral said:
I can relate to your situation. I worked on several indie films with budgets, union actors, and I actually even got PAID for my services and I wouldn't stick it on my demo reel now or ever! What a shame.

Also incase you are interested in doing some test scenes together with actors or what not please let me know, I am in the Mississauga area not far from you and with the new Sony F3 35mm camera I purchased for my production company I too am eager to build up my reel.

We can work on some stuff together and accelerate the process :D
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Yeah, it happened twice. If your taking Film production in College, you should be somewhat good. But, we were wrong.
And sure, we can maybe work on something together on time? I don't see a lot of people willing to work on stuff near my town.
 
Talking about demo reels, I was wondering when you guys cut your reels as a DP, do you actually get the actual footage from the editor???

Or you take the footage from the final cut which is all color corrected and put it together as a reel?

How do you guys do it?!?!
 
Kenneth Lau said:
Talking about demo reels, I was wondering when you guys cut your reels as a DP, do you actually get the actual footage from the editor???

Or you take the footage from the final cut which is all color corrected and put it together as a reel?

How do you guys do it?!?!
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Half and half, on some shoots I was acting as a DIT and would copy all the footage to my HD, and then dump it on the producer/directors hard drive so we always had two backups. On others I'm just getting a 1080 quicktime of the finished film, and poaching from there. That makes it alot easier when I want to be lazy, though it's not the best option.

I've also asked for an editor to just lay out and export some selects for me. I'll ask them for a specific shot or two, and then just ask them to pick out what they like best.
 
To put your self in the market as a D.P you need to prove to a "client" (and or Director) that you can take responsibilty for all things "photography" in the production.

The D.P is H.O D ( Head of Department) and the role includes ultimate responsibilty for photography.
That means every frame is something you brought or will bring to the production.
That means decisions regarding crew, equipment, framing, lighting, when and when not to shoot.
It involves a high degree of technicalk and creative input.
It means working with the director to "tell the story" he / she wants to tell.

You become a D.P when you fulfill a role in a film production ..called "Director of Photography".
Kind of meaning ...someone else thinks you were worthy of the title.


Your reel is an indication of your skills and experience. It shows your "eye". It shows what you are best at and it what you will bring to the role of "D.P"

It takes time and effort and opportunity to achieve. It also requires energy and focus plus " time and effort and opportunity".

Build your reel by "shooting, shooting, shooting..." but ...make sure everything you shoot to show someone is great work no matter what it is.

You will need to show "lighting skills" and your creative use of light and lenses.


FWIW: start off knowing exactly where you are in the "ranking" and have some patience.

If you are any good... you will rise thru the ranks. (The froth always rises to the top)
 
Eikoop2 said:
This might sound wrong, but if you're a DP, but "I can't use most of the footage because its crap", it doesn't talk well about your abilities.
Just a point that sounds... odd.
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In College, everyone is divided to do their job. As a DP, you are only the DP, and cannot operate the camera. You can set up the framing and tell them what you want, but that's it. After framing is set, its up to the camera operator to give you the shots.
The problem is, as the DP or even the Director, we need to trust the camera operators they got the shot and got it done right. Shooting on 16mm film, there are no external monitors connected to the camera where we can see what they are shooting. So, we don't know if what they are getting is perfect.

In one scenario we had a really neat shot going, but the camera operator couldn't even frame properly and would ruin the shots completely. He couldn't even frame or anything. We cant choose our jobs that easily, and we don't know everyone's expertise.
 
Fake it till you make it.
Exaggerate your abilities on your resume.
Got a specific salary/fee in mind? - inflate it by 30% and you'll probably get what you originally had in mind.
Every time I've changed jobs or roles I've managed to obtain a 10-20% increase in income, sometimes for sideways career moves.
Lie through your teeth - everyone else is.
You're in the dream-weaving fantasy business, get used to lying to get what you want.
 
In College, everyone is divided to do their job. As a DP, you are only the DP, and cannot operate the camera. You can set up the framing and tell them what you want, but that's it. After framing is set, its up to the camera operator to give you the shots.
The problem is, as the DP or even the Director, we need to trust the camera operators they got the shot and got it done right. Shooting on 16mm film, there are no external monitors connected to the camera where we can see what they are shooting. So, we don't know if what they are getting is perfect.
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The DP is head of department. It is part of the DP job to ensure that the camera operator is on the same wavelength as you and the Director are. Same goes for the lightiong and grip crew.Take a look down the eye piece if you have to. Discuss it with the operator. Discuss it with the Director.

(I am aware I am being kind of harsh considering your experience and the college circumstances but the real film world is a lot harsher when you are getting paid to be a DP - sorry)

Shooting a film and getting results is a team effort.

The shots should be on every body's reels. ie. Director, DP, operator, AC, Audio guy...

Fake it till you make it.
Exaggerate your abilities on your resume.
Got a specific salary/fee in mind? - inflate it by 30% and you'll probably get what you originally had in mind.
​
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Better be sure you can carry this suggestion off. Could be a career killer if you get found wanting.
 
Shooter said:
The DP is head of department. It is part of the DP job to ensure that the camera operator is on the same wavelength as you and the Director are. Same goes for the lightiong and grip crew.Take a look down the eye piece if you have to. Discuss it with the operator. Discuss it with the Director.

(I am aware I am being kind of harsh considering your experience and the college circumstances but the real film world is a lot harsher when you are getting paid to be a DP - sorry)
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Yeah, we do that. That's basically what I meant. But, still. Without being able to see the footage while being shot without a monitor, its not that easy. And most of the time these people are camera operators for the first time. They don't have that much experience like some other people. Give it a break. I just cant use the footage. If I saw how they were operating on set, then it would be a whole different story. But, no one can until we get the film back from the lab.
 
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