The process begins with a discussion with the director to gain a sense of their vision. A cinematographer then determines what each scene needs and hires the camera crew, purchases supplies, and arranges for equipment. Cinematographers work closely with others on a film set to achieve the right visual outcome, including the lighting department, camera operators, and directors.
Cinematographers also utilize various methods to create specific looks for scenes, such as lighting elements, shot sizes and widths, and camera angles.
After filming wraps, a cinematographer works with the processing lab to ensure that the color is retained and the visuals represent the creative vision of the director. A cinematographer has several major responsibilities and duties when working on a film set. The first is choosing the visual style and approach of the film, which will depend on the story and feel. The next duty is to determine the lighting for each scene. In a film, lighting creates the visual mood for the scene, so a cinematographer must use it to enhance the contour, contrast, and depth of the image to support the atmosphere.
Another key responsibility is establishing the camera setup for each shot. This setup includes the type of camera used as well as the lens, angle, and techniques utilized to bring the scene to life and represent it visually.
The vantage point of each camera also factors into the camera setup. Cinematographers are heavily involved with the film from start to finish, and they attend rehearsals to determine the camera setup in response to actions, gestures, body positioning, and blocking done by the actors.
A cinematographer is also responsible for what type of camera will be used to make a film. Some of the decisions include film vs. The movement of the camera also impacts the outcome of the film, so cinematographers are responsible for planning whether it will move or remain still.
A cinematographer often has success when collaborating with similarly creative people. Some pursue educational opportunities, while others gain experience by working with cameras and moving up through roles on a film set. I met the line producer , and that was my intro to legitimate filmmaking! His strong work ethic and talent combined with the demands of film resulted in Eckels being promoted to 2nd Unit cinematographer.
Eckels seized this opportunity to shine and has now shot 5 more feature films as a camera operator or 2nd Unit cinematographer including 4 with Bruce Willis and 1 with Mel Gibson. He is now slated to be the primary cinematographer on a television show shooting this winter and a feature film shooting January of White Elephant B Camera Operator filming.
Learn more about Tyler at nfi. If you want to work as a cinematographer, you need to have a passion for the visual representation of life through photography and film.
You also need experience in the industry, which you can gain by starting in a lower-level role and working your way up. Some cinematographers attend film school to gain experience and knowledge about what goes into filmmaking. Other related subjects to study include photography, art, and drama. Some of the most successful cinematographers apply certain techniques to their craft. These solutions may involve detailed strategies, such as utilizing specialized lighting equipment or bringing in unique tools.
The U. Bureau of Labor Statistics projects that occupations for film and video editors and camera operators will grow by an above-average rate of 13 percent between and This projected growth is due in part to a predicted increase of online platforms, such as streaming services, which should in turn begin producing more of their own shows. David Searls is a Cleveland-based writer with hundreds of articles, columns and essays to his credit. By David Searls Updated January 17, The establishing shot is a photo of a location that the viewer is familiar with, so immediate recognition of the setting for the scene by the viewer is accomplished.
A medium or mid shot films an individual from the waist up. Medium shots are often used when filming a conversation. When the director wants both people involved in a conversation to be seen at the same time, a two shot is used. If three people are involved in a conversation the director may use a three shot technique. When the director wants only one person in a shot, the person speaking may be shown and then when this person stops speaking the reaction of the other person may be displayed in a separate shot.
The close-up shot is used in an emotional scene. This shot is used for very dramatic scenes where the director wants the audience to feel emotion toward the character in a particular scene. The two-shot and three-shot films are used when two or three people are in the same framed shot. A director may wish to use this type of shot when he wants the viewer to watch the person doing the talking and the reaction of the individual or individuals listening at the same time.
The over-the-shoulder shot and the point-of-view shot are used when the director wants to give the audience a subjective viewpoint or make the audience feel like they are part of the action. The over-the-shoulder shot is taken over the shoulder of one of the characters so the viewer sees the shoulder and one side of the face and neck of the one individual as this person is talking to another individual.
The viewer actually sees what the first character is looking at. In other words, this puts the viewer in the shoes of one of the characters, so that the viewer is able to see the reaction of the other character. The point-of-view shot gives the viewer the exact observation of what a character sees without the shoulder and side of the head in the shot. This shot is more of a first-person view, where the viewer sees exactly what the character is seeing.
The previous camera shots and camera positions are discussed to provide a visual literacy between the viewer, and an image that was created and interpreted by the director and the camera crew as the story progresses and the character portrayals develop and change. Lighting assists in establishing a background to the visual literacy that the director and movie crew are creating.
Lighting is done in a three-point process. The design below includes a fourth point of lighting, that is, background lighting. This is used if there is an object with a specific background that needs to be lit for a special reason. Low-key light and no-fill light leaves shadows. This is the type of mood that would be appropriate for crime, horror, or film noir movies. The higher the key and fill lighting are; the brighter and happier the mood of the movie or scene is.
A lot of key and fill lighting is appropriate for comedies and musicals. Three to four minutes into the movie, Detour , there is a good example of bright key light that becomes darker with shadows, and then the key light gets brighter again as the movie moves to a flashback. We will move away from the cinematography and go to the editing to assemble the shots in the best way possible.
These are the two processes that make a movie different from other productions such as live theatre performances.
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