Practical Cinematography

Paul Wheeler

• Publisher: Routledge
• Year: 2012
• Print ISBN: 9781138174429
• eBook ISBN: 9781136056697
• Topic: Media & Performing Arts
• Subtopic: Film & Video

Filmmaking is an art, but, like so many art forms, there are basic underlying tools and techniques and a body theoretical knowledge that must be understood and mastered before artistic expression can flourish. This book is an invaluable resource for all aspiring DoPs. Practical Cinematography can be dipped into for quick reference - perhaps to answer a specific question or deal with practical problems relating to a shoot - or read from cover to cover. It discusses the principles of cinematography and the expertise which is unique to the Director of Photography (DoP). It deals with all the basic theory such as color temperature and sensitometry, and all the practical things a DoP needs to know, from the make-up of the crew to how to prepare an equipment list.

Part One People

1 The Director of Photography – an overview

DOI: 10.4324/9780080480152-1

I imagine most people buying this book will have aspirations to become a Director of Photography (DP), and therefore I will start the first chapter by discussing and defining the roles and tasks required of the DP. The rest of the book will take you through the necessary knowledge you will need to acquire before you can use the title DP.

The DP is the senior head of department (HOD), whose level of responsibility and depth and breadth of tasks may only be equalled, and then only on a very big picture, by the production designer. All the HODs work to the director.

The prime job of the DP is to create the visual mood of the film and this is primarily achieved by the use and control of light. This, to my mind, is the most exciting part of the job. Even on a simple exterior, the DP will be making judgements that can materially affect the way the audience will perceive the message the script, the direction and the characters the actors are playing is interpreted.

My firm belief is that to bring the most to a movie and also to get the maximum enjoyment from shooting it, the DP must get the preparation right. Nothing, to me, affects the outcome more significantly, not even your talent.

The DP's responsibilities

The DP will be responsible for many things and I am not going to list all of them here. If you would like to peruse a detailed list, the American Cinematographer gave a full and exhaustive list in their January 2003 edition and that took three pages of small type. Nevertheless, here are the actions and responsibilities I consider most relevant and most likely to occur; use them as a check list if you will.

In early pre-production

• The first and most important matter is to discuss, in depth and possibly on many occasions, the script with the director until you are both in complete agreement as to the overall look of the film.
• In order to achieve the above, you will have had to have read the script several times, often between your meetings with the director. Early on, you should have made some decisions as to the ebb and flow of the emotional content of the script, so that the mood of your photography will be sympathetic to the story needs.
• During your discussions with the director, the production designer will be having similar discussions and it is most important that the DP and the production designer do not go off in different directions. Very early on, you and the production designer will need to keep in close contact; this will necessitate some meetings with just the two of you and some with the director present.
• Stay in close contact with the locations department and scout, or recce, proposed locations as early as possible.
• If sets are to be built, then you will need to keep a close eye on the progress of the plans, as simple changes that might mean nothing to others can materially affect the ease with which you will be able to light and shoot the necessary scenes. This primarily relates to the size of the sets and their positioning within the studio.
• If the director wishes to work with storyboards, you should keep in close contact during their creation. A good storyboard artist can be one of your greatest allies during pre-production. If the director prefers not to work with a storyboard artist, perhaps through personal preference or even budgetary restraints, a storyboard from the director, even if only drawn as stick men and women, can still be a useful tool, especially if the director does not have the most wonderful ‘picture’ imagination. Do not take this comment as in any way derogatory; if that director has hired the DP for their visual imagination knowing it will complement theirs, that DP might very well enjoy making a more significant contribution to the movie in question. But remember to let the director make it their own. Don’t tell everybody it was your idea; subtlety gets you hired more often.
• Come up with preliminary lighting plots as early as you can so that you can give the lighting company an idea of what you will be needing, and by assessing the number and type of lamps you will need the production office can get provisional lighting budgets organized.
• You will need to nominate your technical crew, as well as choose your film laboratory and equipment suppliers.

Close to shoot preparation

• Approve with wardrobe department all the colours and textures they are intending to use.
• Check any specific make-up requirements such as prosthetics, etc.
• Visit all sets that are still under construction together with the production designer and the construction manager.
• Visit sets with the production designer when construction is finished to approve colours and textures.
• Work with the assistant directors to formulate workable schedules and remind them of any scenes that are time specific due to sun position or tides, etc.
• Formulate your film stock breakdowns and your Technical Diary. See Chapter 2 as to how to do this.
• Attend all readings, run-throughs and off-set rehearsals. These may be the first time you get to see your artists in the flesh and your pre-visualization, from now on, will include the faces you will be photographing rather than your interpretation before they were cast.
• Establish that your shooting crew has amassed all the equipment you have ordered and that they are satisfied that their testing has been successful.
• Make contact with your laboratory, check who will be your daily contact and who will be grading (timing in the US) your rushes (dailies in the US). Your rushes or dailies are the first print ever struck from the camera negative and can be extraordinarily enlightening, especially early on in the shooting of a movie. Establish with your lab contact the processes you will require and ensure that they are fully aware of the look you are going for.
• Shoot and approve any tests you want to carry out, such as emulsion tests, wardrobe colour tests, make-up and prosthetics tests.
• Finalize lighting plans and communicate them to the gaffer.

During shooting

• Get a laboratory report as early as possible.
• Watch the rehearsals, or block-outs, of the scene to be shot.
• Devise and agree with the Director the shots required for the upcoming scene.
• Agree the most convenient shooting order with both the director and the first assistant director (1st AD).
• Ensure your lighting plan has been carried out to your wishes; confirm the stop to the first assistant camera (1st AC or focus puller).
• Work with the 1st AD on background action. This may depend on the union agreements with the background artists; it is common in the UK that the 1st AD and the DP may direct background artists without putting up their daily rate, but if the director gives them instruction they will earn significantly more for their day’s work. Check the agreement with the production office.
• Give camera set-ups to your camera operator and confirm these with the director.
• Set any additional cameras for stunts, etc.
• At the end of each scene, confirm with the director that you have sufficient and appropriate shots to have adequately covered the scene. Advise the director as to additional shots if you think the editor may need them.
• Make sure that still photography and, if on set, the EPK (Electronic Press Kit) crew have all the materials they need. This is often overlooked, but to the DP it can be vital that all the pictures generated on set are as good as the DP’s pictures. Bad publicity photographs, still or moving, can seriously damage a DP’s reputation.
• Last thing at the end of the shooting day, confirm tomorrow’s scenes with the director and the 1st AD.
• If the director wishes, discuss tomorrow’s work.
• Check and approve call sheets for the following day before they are made official.
• Check if any of the junior members of your crew wish to ask you questions about the day’s shooting in order to help their career development.

Post-production

• Time, or grade, any early trailers that may be being constructed.
• Check any EPKs to make sure they are of sufficient technical quality.
• Approve all effect or composite shots before they become part of the final cut.
• Time, or grade, the final cut.
• Attend digital intermediate (DI) grade if this route has been chosen. For further information on DIs, see Chapter 9.
• Approve or modify answer prints as necessary.
• Attend all transfers to tape versions.
• Supervise pan and scan recompositions.
• Supervise and/or approve all other deliverables – VHS, HD, SD, Pal versions, NTSC versions, etc.
• Look for the next picture to shoot.

2 The DP's preparation

DOI: 10.4324/9780080480152-2

Research

Many pictures require specific, detailed research, particularly if they are period pieces, or if the director asks for a certain style or look. With the run-up and preparation times currently being scheduled, however, there is often too little time to research your subject properly. It is therefore useful to accumulate a store of reference material or to have a good idea where such material can be found. This can help not just with preparing for a shoot, but also with an initial interview for a picture. Discussing a script you only received 24 hours earlier with a director who has been living with it for months can be a lot easier if you have an understanding of the script’s context and can knowledgeably refer to images that relate to that script.

Regular visits to second-hand bookstores can provide a useful library of old picture books at very little cost. Several years before I needed them, I acquired a marvellous set of books covering the years of the Second World War almost entirely comprising of photographs taken at the time with minimal captions; there is a book for each year.

Some five or so years later, I was asked to shoot a picture which opened with men in a train returning from the Dieppe raid of 1942 with flashbacks of the men being rescued from the waters along the French coast. My set of books provided pictures of men actually in oilcovered water being picked out of a life raft after that raid, a picture of a woman waiting for a train containing survivors of that raid and one of people using an underground station as a bomb shelter. All these scenes were scenes in the script I had been offered and I was able to base my interpretation of the script on them.

While it is the DP’s job to interpret the script and the director’s vision of that script, it is an immense help if you can base your imagined pictures on reality – it brings a greater believability to the finished film.

Old photographic books are useful (as well as quite fun) to collect, as are books of fashion photographs. With old photographs it is often as useful to imagine why the picture is shot and styled in a certain way, as this puts one’s thinking into the mind of the original photographer and you can begin to feel more of the mood of the times.

Nowadays, there are even books published on specific times. I have an excellent book, The Golden Years, a celebration of an Edwardian summer – I haven’t made the film to go with it yet but its time will come.

Art books are a favourite starting point, especially of directors. When we made the BBC film The Dark Angel based on the book Uncle Silas by Sheridan Fenau, the director, during pre-production, showed me many pictures of Victorian paintings as references for various scenes. Once the shoot started, he preferred not to show me any photocopies of reference pictures he had in his script, as he did not want to inhibit my original thinking at that stage.

While touching on the subject of photocopying, it is important to be aware of the copyright on the original, be it pictures or words. Most large companies have bought a buy-out licence for limited copying, but if either they or you don’t have legal access to the material you may find yourself in trouble.

The painter I, and I imagine all cinematographers, get asked to emulate most is Vermeer. Not easy, but it can be done. I was once asked for a Frans Hals look, but persuaded the director against that because the film was destined for television and there would have been so much black on the screen the actors might have become unrecognizable. Frans Hals’ pictures require contemplation and television cutting rates give no time for that. Suggesting we shot another movie with reference to Edward Hopper was a brave move but I think we pulled it off. One very large lamp to give a single, crisp, shadow across the set and a light overall fill, together with careful location...

Table of contents

• Cover Page
• Half Title Page
• Dedication
• Title Page
• Copyright Page
• Contents
• Preface
• About the author
• Acknowledgements
• Introduction
• PART 1 People
• PART 2 The Technology
• PART 3 The Cinematographer's Craft
• PART 4 Operating
• PART 5 The Future
• Index