The Most Overlooked Skill of A Cinematographer
You won't believe how easy it is to overlook this crucial filmmaking skill.
Cinematographers and videographers around the world will share the skills you need to accomplish great footage for film and/or video. You know what they slip into their great advice, and goes unnoticed?
I was a DP only one time. I was a videographer countless times. All before I used an iPhone camera. I know a thing or two, but I have a bit of that syndrome going around…have you heard of it?
It’s quite common with people in this industry, and the arts. This is one of the reasons I published an entire episode around it with the SBP Podcast Mobile Filmmaking’s bi-weekly program, “Fade In To Film: Impostor Syndrome and Then Some” in Episode 193, last month.
I’ve met, worked with, and know many cinematographers who work with traditional cameras.
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I would go to work on a film set and watch interns (and some crew) flock around the DP as soon as they began to assemble gear to their cameras. I was not an intern, but several times I was one of them “flocking,” because ‘Ah, the toys…’ They are so luring.
It begins with the tripod (or other device/rig to mount a camera on), some sandbags to hold it steady while mounting the camera, and then…it’s just one thing after another. It’s a meticulous process. Carefully handling each item like it was made of glass. Some of it is, but if it’s not it’s delicate breakable stuff. Our phones can break with a drop (internally, if not externally), but they are more hardy than the film gear a DP handles.
Cinematographers have to deal with a lot of questions on set. Mostly from curious crew and interns. Everyone worships the DP on set. If any of you have worked on a film set, you may have encountered a DP that you thought was a bit grouchy and sensitive.
The DP also has to answer questions from the lighting department and other crew. They are also directing them.
I can tell you from experience that most cinematographers are not grouchy at all.
If you’ve worked as a videographer with traditional cameras you are aware of what it takes to setup your camera with all the bells and whistles. Videographers usually capture audio directly with their cameras.
Cinematographers don’t usually capture audio directly from the camera. Most filmmakers capture sound audio externally through a sound mixer, a sound assistant and a boom operator.
Photo above is me doing a bit of videography during IMFF 2024’s Kick Off Meet and Greet. I am using festival sponsor Zacuto’s Smart Z-Finder and their MicroBoom with my mic. When I compare this smartphone camera rig to my traditional videography days, I am extremely relieved. I assemble it at home, put it in the trunk of my car, arrive on location, attach the phone, and I’m ready to roll.
Recently, I used it without the viewfinder. I only used the hand-held stabilizer mount and micro boom mic. It took me from my car to recording in seconds. It’s become my “grab and go” production process.
In videography, audio is an additional component to the camera setup. Videographers use audio a preamp/audio adapters with XLR inputs and sound mixer and a high quality microphones with XLR cables.
In cinematography, ND (neutra density) lens filters are extremely common. They help with consistency in aperture (the amount of light that gets through) and depth of field, along with exposure. While videographers use ND filters as well, ND filters are more common in the filmmaking process. There are other attachments to lenses that man DP’s use, such as lens extension tubes and matte boxes that you can attach an ND lens to.
Another piece of gear DPs attach to their lenses is what is called a follow focus system. Although there are many videographers using these as well, in my experience, they are more popular with cinematographers.
The films I worked on usually had a camera assistant ro pull focus with this system while actors moved during a scene, keeping the DP focused on the details and aesthetics of the “picture". This is why only high level videographers use them in their productions, and the cost and budget to hire a video producer that uses one is higher for such a production.
I’ve shared just some basics here. There are dolly tracks and other elements like jib cranes to set up on a film set…and I didn’t even mention lights and reflectors! All of these are set up by production crew members “for” the cinematographer. Remember the DP is in charge, and responsible, for the end result of everything the camera captures.
There are so many other things I am leaving out here like other cameras used on sets, even in mobile filmmaking like drones to capture aerial shots. Drones are so inexpensive compared to booking a helicopter to capture aerial footage. However, that also depends on where you are using them. There are reasons aerial shots following a car driving on a country road is more common than a car chase in an urban setting.
Are you still with me? You’re probably wondering what advice I shared so far that goes unnoticed, as I claimed in the beginning. If you haven’t caught it, it’s the reason it goes unnoticed. It’s patience.
When they arrive on set, they begin to pull gear out of their bags and cases. As soon as a tripod is set up the flock of curious interns and crew gather around, especially on day one of production. Imagine you are a DP. The result of all this setup is what the entire production rides on. This is also true for the videographer. So much to keep track of. It’s all quite intricate.
Do you still think a DP on a film set is grouchy? They have a lot of minuet details to keep track of. I have not even mentioned all the internal camera settings for video and audio.
My advice, for interns and crew, is to be attentive without being intrusive.
If you respect everyone’s space and time, and suggest that you are seeking to work as a DP yourself, the DP may signal for you to have a chat during a production break. This my personal advice as someone who has had this experience on many of the film sets I’ve worked on.
I was training teen interns in video production for an organization I worked for. It meant that I had to allow them to touch and handle the equipment with guidance on location. A cinematographer rarely, if ever, does that on a film set. The DP’s camera assistants are highly trusted and trained professionals. Do not undervalue the title of “assistant” in any position of a film crew.
If you are privileged to work on a professional film set, yes—independent films are considered professional, be respectable to the process and everyone in the crew. Regardless of their title. It includes the production “assistants” and interns.
There are a number of short films I worked on where a PA (production assistant) was a cinematographer on another film. I suppose I’ve been “that” person.
I’ve also met ADs (assistant directors) who were DPs on other films, and PAs who later moved on to direct.
Imagine you’re disrespecting the PA or the intern on a film set, and later you find out they won’t hire you in a project they are working “above the line” in. Above the line are those who are responsible for the creative development, production and direction of a film.
Allow me to throw a “bonus” unnoticed element of cinematography: Storytelling behind the lens.
The director of photography is directing the production from a different perspective than the director.
Both work extremely close with each other to make sure there no gaps between the story the director is envisioning and what the DP captures on set.
In post-production, the director brings the footage to a post production team to edit and turn the director’s vision into a reality that will captivate and submerge an audience into a film in which all the elements I mentioned above are seamless. The audience that watches the film enters a magical world of storytelling. They have no idea what it took to create the magic they experience.
In conclusion, it takes a lot of patience to be a cinematographer.
Smartphone filmmaking not only simplifies a production so you don’t need hundreds of people on set and a very complicated setup process, but if you are patient and willing to include the traditional gear that enhances what you capture; like lights, sound, and image quality settings—you may surprise yourself and your audience. You can still create movie magic and bring your vision to life.
One of the best benefits of mobile filmmaking is that you save a big chunk of your budget to hire better actors and a good post-production team.
You can’t produce a cinematic film without the inclusion of a great story, good actors, an experienced crew and good post-production team.
What’s next? Distribution. It’s a topic for another conversation. Such as the conversations we have on the SBP Podcast Mobile Filmmaking.
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In videography, the director is the camera person, most of the time.
When I am behind a camera, usually my iPhone, I am storytelling. I employ conviction and intent with what I capture. I focus on the center of the action in video framing with an eye for the action in the background. In photography, I see a picture framed with my subject and the background to influence the aesthetics of the shot, an attempt to tell a story in a single frame using the rule of thirds.
I want to note that I’m consciously making a distinction between film production and video production here. It’s because in mobile filmmaking, we tend to refer to mobile filmmaking or “filming” when we really mean capturing video with smartphones. It just rolls off the tounge easier. I am not criticizing it. I am just making the distinction here so as to convey the difference between what we refer to as a film versus a video in the current digital media industry.
You can train yourself to do everything I discussed here as well. It only requires patience and conscious storytelling.
If you’re not having fun, you’re not doing it right.