Working with a DP

Gohanto

Gohanto

Veteran
Hi,
I've been director and DP for a number of short films that I've done. My next short though I'm going to be working with a DP for the first time and I'm rather curious about what people's thought are about what to use them for. My initial thought was to walk them through storyboards before shooting (hopefully on a visit of the set or after visiting) and to describe the type of "look" I'm going for. Telling them what shots are dolly, crane, steadicam...ect. Then on the day of the shoot just having them setting up shots with lights and/or getting the dolly or crane ready, while I talk with the actors.

(The equipment I use is two 250W lights on stands w/dimmers and diffusion screens, reflectors, a dolly, a crane, a tripod, a Glidecam, and a 35mm adapter)

Any advice on this?

Thanks in advance.
 
to describe the type of "look" I'm going for
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This is key. JMHO though. Making sure everyone is making the same film is always a good idea.

I think the artistic elements of the frame setup and composition is something the director and the DP discuss together. Once they know where the camera will be the actors come in and do their run throughs with the director and DP watching. Once everyone knows where the actors will be and the camera positions, the DP sets up the lights, makes sure everything is in position and ready.

Meanwhile the director goes away with the actors to rehearse the scene. When the DP says he's ready the director comes back and checks to make sure he's happy with everything, if so, they shoot the scene.

It's wonderful when you get a DP you can trust.
 
storyboards are important, but so are shot lists and floorplans. i just shot my short this weekend and worked with a great dp, and i showed him storyboards beforehand, and then on the day of the shoot, i had shot lists and floorplans to make sure we got enough coverage, and to make sure of scene direction, the 180 rule, etc.
 
R!ff R4ff said:
Meanwhile the director goes away with the actors to rehearse the scene. When the DP says he's ready the director comes back and checks to make sure he's happy with everything, if so, they shoot the scene.
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I'm curious are you guys letting the DP set up your shots?
 
i think he was saying he tells the dp the composition he wants. meaning he tells the dp everything he wants in the frame and when he wants it.

he then leaves to rehearse while the DP gets light readings, adjusts lighting, the camera etc.

this can be a 20 minute process on a difficult shot. so my interpretation is technically the dp is setting up the shot but after the director explains his vision clearly.
 
omar_ said:
I'm curious are you guys letting the DP set up your shots?
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I would never let my DP "setup my shots" for me.. in that.. I would never let my DP come up with how to shoot my film.

That is how I work though, I come up with my own very specific shots for a reason.

But.

I am always open to suggestions on the day for different shots or unique compositions offered by my DP. And I often shoot my original shot first, and if there is time I will shoot my DP's shot as well.

I like to have that spontaneity on set, but I also love creating my story through shots and acting. I generally chat with my DP about the look I want in that shot/scene, I give him the direction/angle the camera should be, and what is being seen in the frame, and let him do his thing while I go through the scene with my actors.
 
If you are the director, it might be a good idea to let the DP think he is coming up with the creative decisions, while in reality you are the one deciding everything.

Don't get this confused with being closed-minded.
 
Actually come to think of it, it'd be dumb to hire a DP if they didn't have any decision making.

Gohanto, didn't you tell me earlier that a DVX was far too rich for your blood?

You could get a DVX100 for half as much as what your gear costed you.
 
I'm rather curious about what people's thought are about what to use them for.
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If she is hot, use her as your sex slave... If not let him clean the washrooms... :Drogar-BigGrin(DBG)
 
volcano, yes. I like the idea. Makes me wonder how many attractive women are in the DP business.

bball, all that equipment adds up to around the price of the DVX. My preference is to have 35mm DoF, dolly, and a crane over a better image. My logic is that I'm practicing for working with film and/or rented HD cameras. I'm attempting to learn when to dolly, when to use handheld, when to use a long lens, ect... even if the picture is less than perfect.
 
Pretty good thoughts Gohanto.

Even with worse picture quality your shorts may look like they have a lot higher of a budget.

You should tell people you shot on 35mm but got "bad compression" so it could be small enough for an internet file. :)

(and yes, I know that isn't going to work, it was a joke)
 
bball, I may not be able to trick anyone that's into making movies and DV cameras, but the average movie goer can't tell the difference.


I am at least upgrading my camera to an old Canon Xi so that I've got decent resolution (You can see huge pixels when my Sony Handicam footage was put even on a 17" monitor)
 
I'm curious are you guys letting the DP set up your shots?
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DP or cinematographer, what ever you want to call the position. Normally someone trained in the technical aspects of capturing the picture. Someone who knows how to get the shot after I decide what to shoot. Getting the lighting right, the colors for the mood, the actors face, kelvin temperatures, f stops, which gels do what, how many lights can you plug in before the circuit blows, all that stuff I leave for the DP. But that's how I do it. Everybody is different.
 
Well then lets go with more humor:
DP's are like your gf...:
-Cant live with them, cant live without them...
-They always try to change you(r vision) somehow...
-Cause you to pay more bills...
-You keep wonder workin with other DPs...
 
thematthewbone said:
i think he was saying he tells the dp the composition he wants. meaning he tells the dp everything he wants in the frame and when he wants it.
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I totally agree that really the director shouldn't have to look through the lens. He should be able to tell the DP everything that should be in the frame and that should work.

thematthewbone said:
he then leaves to rehearse while the DP gets light readings, adjusts lighting, the camera etc.

this can be a 20 minute process on a difficult shot. so my interpretation is technically the dp is setting up the shot but after the director explains his vision clearly.
Click to expand...

Do you leave the light readings and setting up the lights to the DP? Don't you have an Assistant Camera or Gaffer committed to the lights?
 
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