FIND ANSWERS YOUR QUESTIONS ABOUT CREWING UP
I’m a first-time writer/director looking for a great director of photography to shoot my project. How do I find the right person?
Clint Eastwood and cinematographer Tom Stern on the set of Gran Torino
Before you get started, take time to formulate an in-depth idea of how you want your film to look. What is the mood of your film, and how can that best be expressed through camerawork? From whose point of view will the story be told? Do you want to use a handheld camera or a stationary one or both? These questions will prepare you to have an in-depth creative conversation with potential DPs. Also, it’s helpful to make a list of films whose cinematography you like and think is relevant to your project so you can use these works as a reference.
Once you’re prepared for a creative discussion, there are several ways to go about finding DPs to interview: first, ask your fellow filmmakers for recommendations through networking and social media. One opportunity for doing this is the Film Independent Members’ Night on the first Tuesday of every month where you can talk face-to-face with other filmmakers. Also, you could attend Film Independent’s IndieLinks, a networking program to help filmmakers find talent and crew members. Once a year, we hold an IndieLink where cinematographers show their reels to a group of directors and producers and discuss their approach to shooting films. Stay tuned to our website for a schedule of upcoming IndieLinks. Another strategy is to post information about your project at film schools with cinematography programs and ask for reel submissions. And, of course, you can always reach out directly to DPs whose work you’ve seen at festivals or in recent releases. Many DPs have reels and contact information online.
Other than being able to work together creatively, what else should I keep in mind when choosing a DP?
In addition to being a creative collaborator with the director, a DP must have the ability to manage a crew. The camera department, key grip, and gaffer report to the DP, so she or he has to be able to communicate with these departments effectively and efficiently. The DP should also be able to work well with 1st AD to give realistic time estimates for lighting set-ups.
Ask what kind of equipment the DP can bring to the project. Many DPs own their own cameras and some grip or electric equipment or have relationships in place where they can get substantial discounts from vendors. Free or discounted equipment rentals can make or break a budget, so you should definitely ask what your DP can contribute.
Set a camera department budget and stick with it. Work with your DP to decide what kind of equipment is essential to your shoot. Camera and lighting equipment rentals can get expensive really fast, and there’s a lot of specialty equipment available that a DP may be keen on using. Create a shot list and decide exactly what equipment is necessary to achieve those shots versus what equipment would be nice to have. You may find that you simply can’t afford a crane or a jib arm, so you’ll have to be flexible with the equipment you can afford. You want a DP who is willing to work within these budgetary constraints and come up with creative solutions.
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October 12th, 2011 • 1 Comment
One Response to “FIND ANSWERS YOUR QUESTIONS ABOUT CREWING UP”
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I shot my first feature film (“Surviving Family”) over the summer in the NY area. After not getting what we were looking for via personal contacts, we used http://www.mandy.com to look for (and hire) our dp.