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Interested in Becoming a Director of Photography? Here’s what you need to know.
Like any positions in the film industry, most students figure out the hard way that just because you earn a film related degree doesn’t mean you’re going to become a professional director of photography overnight. That said, it’s a rewarding career path that, if you’re passionate about cinematography, will be well worth working for. The following information provides things to consider that will help you get the most out of your journey.
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What is a Director of Photography (DP)?
A director of photography is responsible for determining the best camera, lens as well as the necessary lighting equipment for the project, the overall look of the video, and hiring the lighting and camera crews. They also create the lighting for every shot and advise and oversee the crew regarding where to place the camera equipment and lights, along with the camera movements. The DP also collaborates with the director to develop lighting strategies and camera actions that will help tell the story. Coming up with a great video production is much more than simply recording a scene, and a professional DP will be able to take the film production far beyond an average production.
Education
While most DP’s have obtained an undergraduate/graduate degrees in photography or cinematography, some pursue degrees in media studies, art, acting or film production.
Hand On Experience
The important thing to remember is that the earlier you get “hands on” experience, the better when it comes to finding employment and moving up the ranks. For example, if your college or university has a TV station, try to work there part time to learn the fundamentals of film production.
Pursue an Internship
Go after at least one internship before graduating and look for other opportunities, including working on commercial products and/or Interested in Becoming a Director of Photography? Here’s what you need to know.. Even if you’re generally focused on motion pictures, any kind of professional experience will help you build credibility.
Practice Makes Perfect
Never stop practicing your craft. Even if you get a job related to the industry, consider making your own films in your spare time, using the contacts you have in the industry to network with the people who might recognize your talents. Someone who has made the journey before you has the best perspective for you to learn from.
Regardless of the path you choose or the relationships that you cultivate, having a strong work ethic, great attitude and artistic aspirations is essential if you want to work your way up to DP.
This information for becoming a director of photography will help guide you and the included links will take you to other practical resources for more in-depth coverage.
Useful Links:
Camera Crew Breakdown
Grip & Electric Departments
8 Cinematographers Behind Famous Directors
Roger Deakins’ Forum
Evan Richards’ Cinematographer Index
Shane Hurlbut’s Inner Circle
The 5 microphone pickup patterns every video producer should know
The 5 microphone pickup patterns every video producer should know
Let’s face it – a film is only as good as its audio. Although it may be easy to be captivated by the visual aspect of a film, quality audio needs to be high on the creators’ priority list. Substandard audio will quickly distract and turn off an audience, so it’s extremely important to choose the right mic for the job at hand. Let’s take a look at 5 microphone pickup patterns every video producer should know about.
1. Omnidirectional
This pickup pattern makes it possible to “pickup” sounds from every direction. With omni microphones, regardless of how you rotate or twist them, it’ll all still sound the same. While, omnidirectional microphones can also in theory deliver a more natural sound, they do pick up everything, necessary and not, their use is typically limited to specific scenarios
2. Bidirectional
The bidirectional pickup pattern has a transparent natural sound, comparable to that of the omnidirectional pickup pattern, however, it’s only sensitive to the sounds that come from the front and rear ends of the mic. The sounds from the sides are rejected. Another primary difference from others is that the bidirectional pickup pattern offers the strongest proximity effect. Almost all the ribbon microphones use this pattern, which is also prevalent with high end condensers as well.
3. Unidirectional
The majority of shotgun microphones are highly directional and only records audio in the direction its barrel is pointed in. They’re usually attached to extended boom poles, then held above the head of the individual, outside of the visible area of the frame. The narrow, long, pickup pattern of the unidirectional makes them the microphone of choice for producers making shows and films that are built around actors giving dialogue. Unis offer excellent range and rejects unwanted ambient audio too.
4. Cardioid
Cardioid microphones have a pickup pattern that’s heart shaped and they pick up the majority of the audio from the front side, within a degree range. Cardioid mics are typically utilized for studio recordings and provide good sound quality. They also benefit from the noise cancellation, making them an invaluable recording device.
5. Lobar/Super Cardioid
The lobar pattern provides the narrowest picking angle. With this angle, the pattern can be twisted further, picking up a small amount of sounds emanating from the sides. The majority of shotgun microphones have the lobar pickup pattern, especially longer shotguns, however the pattern can still vary significantly. From a technical perspective, lobar pickup patterns can also be labeled as other varieties, including hyper-cardioid and super-cardioid, but in the end, what matters most is the microphones unique polar diagram.
If you take the time to understand the varying attributes of the 5 microphone pickup patterns mentioned here, you won’t have any trouble choosing the right model for your specific needs.
The boom mic, or shotgun mic is the most popular with filmmaking. It captures an excellent sound quality avoiding the annoying background noise. It is your best option for really professional sound.
5 Editors that Broke the Hollywood Studio System
In the late 1960s, the United States’ Hollywood studio system found itself in a transitional period. The younger generation began to make a significant connection to music, film and art. This connection led to the growth of young, innovative filmmakers that were different than any that came before them. Talented filmmakers/directors like Lucas, Spielberg and Scorsese grew up watching movies and were so passionate about the industry that they diligently studied them. By the time the 70’s hit, these young directors were smashing box office records due in part to the help of incredible editors.
The following 5 editors transformed the film industry and help turn a new generation of inspired young filmmakers into household names.
Anne Coates
Anne Coates started to fulfill her dream of being a film editor with the Religious Film Company that in time led to a position at Pinewood, on the cutting room floor, where J. Arthur Rank, her Uncle, was a founding member. She worked on several projects prior to attaining her first screen credit for « The Pickwick Papers ». In 1962, Anne worked with director David Lean, editing the legendary film Lawrence of Arabia, a life changing opportunity. In 2015 Anne edited popular « Fifty Shades of Grey » which has been nominated for 5 Oscars.
Thelma Schoonmaker
Thelma began her career in the biz at the New York Times as an assistant film editor. While taking a film editing course she met a young Martin Scorsese and went on to edit Scorsese’s first feature film in 1967, « Who’s That Knocking at My Door ». In 1980, Scorsese had her edit his film « Raging Bull ». Schoonmaker went on to earn 7 Academy Award nominations for « Best Film Editing » for Gangs of New York.
Dede Allen
Dede Allen began her career in the film industry at Columbia Pictures during the 1940s, starting out as a production runner. One of her first assignments as an editor was the 1959 film « Odds Against Tomorrow ». In 1967, Dede Allen became the first film editor to receive a solitary opening credit on the film “Bonnie and Clyde”. Additional films Allen worked on include « The Breakfast Club » and the « Addams Family » in 1991. It is said that Dede’s work broken from traditional Hollywood editing practices.
Verna Fields
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In 1968, Verna Fields made her directorial debut with « Journey to the Pacific » the documentary, hiring two editors to help her with it, George Lucas and Marcia Griffin (who later married). Verna also worked with Peter Bogdanovich, editing his films « Paper Moon » and « What’s Up, Doc?”. George Lucas had Verna Fields and Marcia edit his film American Graffiti. Later Fields edited for Steven Spielberg’s films « The Sugarland Express and later, « Jaws », for which she won an Academy Award for Best Film Editing.
Marcia Lucas
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Marcia worked as an assistant editor on « The Candidate » and « THX 1138 » and worked with Verna Fields on American Graffiti, which earned her first Oscar nomination. In the 1970s, Lucas edited « Alice Doesn’t Live Here Anymore » and worked as Scorsese’s supervisory editor for « New York, New York » and Taxi Driver. In 1977, the world was introduced to what became legendary, « Star Wars », directed by George Lucas. Marcia edited the film and even helped rewrite it and also edited several additional films in the Star Wars saga.
5 Editors that Broke the Hollywood Studio System
These remarkably talents women were the editors of the « New Hollywood », paving the way for today’s talents and turning a new era of young filmmakers into world renown household names.
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