No it depends between the director and cinematographer. They can collaborate or the cinematographer has full controll of the shots like Roger deakins and greig Fraser. Personally I rather work with writer director the ones that focus on the story and characters, because visuals is only one part of the film, you have soud, editing and among other things
In my experience, chaos ensues when people try to jump departments. On a good situation, the director pleases the producer; the DP and actors please the director; the gaffer pleases the DP, and all will be right with the world, I find. On occasion, with lower budget sets I’ve seen gaffers conferring with directors over lighting placement, leaving the DP out of the loop, which creates tension and chaos. And as DP I’ve had to tell a director, who discussed lighting with the gaffer before talking to me, “How would you feel if I jumped past you to the producer and you were later told what we decided the next shot was, or if the actor came to you and said, “The producer and I agree that you’re making me overact.”?”
Yes so they’re not exactly robots to simply move the camera am I correct ? Like they also have a creative inside that gets valued, like new BladeRunner Director D.V and the cinematographer he pairs with
@@24thewiz7 I think it's imperative that DP and all other departments infuses their own ideas, in the frame of the director's vision. That's why it's so crucial for a director to communicates his vision.
@@eddyjuillerat835 Do you know of any examples by chance where certain people collaborate often? Or maybe a movie you liked where you know of this happening?
@@24thewiz7 I know that Eastwood works with the same crew for years. Maybe the late Sydney Lumet I think. Myself I prefer much more people I know to have the same kind of mind. Not that we have the same ideas, but we speak the same language. I'm pretty sure many directors like to work llike that.
Oh my God. Thankyou for this clarification. I searched all over the internet about this. Never got a good answer like this. Thanks man. A fellow Keralite.
I appreciate your bluntness. From my time on set as a director and DP, I understand how important it is for the crew to understand the chain of command and for people to know their roles. But, I disagree about how these roles relate to each other. Just I'm not the director doesn't mean my voice doesn't matter. I would say it's always a discussion. Hopefully, majority of the talking can be in preproduction but the director isn't giving people orders like he's a king. The director needs everyone to do their job and do them well. That means they have to trust other ppl's expertise. I put a lot of value in trusting my gut. But if my whole crew thinks my idea is not as good as the DP's maybe I should humble myself and trust my team. Otherwise why work with people at all?
*Notes* They usually discuss and make a choice together, but one's opinion is more important depending on the subject *Director's call* -Format -Aspect ratio -Look of the film (the cinematographer might do something, but if the director says that it should go, it's out of the picture) -camera movement (grip is in charge of camera movement execution) -framing *Cinematographer's call* -which camera -which lenses -t-stop -camera operation -what kind of lighting, how many fixtures (the gaffer is in charge of lighting execution) He can say no, if the director puts him in a danerous or extra tiring position. According to Wolfcrow: it's the director's vision. So no matter how much a cinematographer wants to change the scene, it's just not possible. A cinematographer is there to help the director make his dream a movie, so he has to listen to the director. Even if the director's dream is crap ^ω^
Ultimately a great guide on the topic and also really helpful for me to be more sure about some things. But also in the end I think some of these questions completely depend on the colaboration of the director and the cinematographer and how they work together, so it can be way different I guess
I just love this lecture but my question is when you have a novice Director who due to what his colleague used to shoot his movie possible a red camera and the dp he hired suggest a black magic as appropriate camera for the shoot now the Director argues. What will the DP do in such situations?
Your vids really become high end, my friend. There is not any hope that more than some selected of us ever come even close to the things you are talking about. Except they are allready there of course. But I know, this knowledge is helpful even for hobbyists and amateurs, so I really absorb every sentence you say. Thanks a lot, it´s fascinating stuff. BTW, I download each of your videos which I have watched, just in case.
nothing at all wrong with choice of shot. some like close, some like far. I would say he should have mixed up the shots. but this is a talking head tutorial.
This is really insightful but when people say “The cinematography in that movie was great” what are they actually referring to? Because I always thought it was to do with the composition of the frame and the movement of the camera
When you've gained an amount of experience as a director, you'll know it's a very fluid relationship. And especially when you and your DP have a lot of trust, you'd make the process a lot more fluid and you'll take advice from each other when shooting.
I dont see this "fighting". Directors is the shot caller, Cinematographer is the vision for the Director. If they fight, Cine, will always loose. Rarely (if ever) will the Director be fired since he is the first person hired on a set. Most directors will trust the cinematographer. Not sure where your seeing this. Here in the US, or oversees?
4:05 - 4:16 THANK YOU SOOO MUCH. THAT WAS THE CONFIRMATION I NEEDED, A COUPLE OF DAYS AGO, AFTER DECIDING NOT TO WORK WITH A DIRECTOR WITH THAT BEING THE BIGGEST REASON AMONG OTHERS.
How do you plan an outdoors shoot that needs to be at a time it doesn't rain? I personally would plan for all weather situationeel of possible but sometimes you need to have a certain weather.
Hope I'm not too late, but please check your lens/sensor for that speck of dust that appears near to the Bottom-Left Rule of 3rds intersection point. Hope you read this before you go and shoot anything else
I've read that Winton Hoch, on location for the film SHE WORE A YELLOW RIBBON, fought with John Ford over what the cinematographer considered unsuitable lighting conditions that would not work with Technicolor stock. Ford "noted" Hoch's objections and told him to film anyways. As things turned out, the shots worked, but Hoch was right to warn his director about these technical risks.
HI, Sareesh, I think its very clean and transparent explanation the person who is woking as a cinematographer or director I am one of your follower ..your all you tube video helping me alot .thank you ..
Hey I am from Kerala. Can you please tell me how directors and editors work together.I want to know if Directors sit through the whole process of editing, and does the director decide how much cuts should be done and so own.
Great insight into professional film making, thank you. Is there a lot of politics on set? Any high egos? Are people mostly professional, or is there drama and stress? I work in advertising and we do all kinds of production, from graphic, web, ux/ui design to tv and radio commercials so i have some experience in that regard. My guess is a Hollywood feature film production is not very different?
informative.. Loved it!! I have a question but. You said, Cinematographer decides the parameter aspects like white balance. But What if the director say he wants a reddish texture in the result? though it could be done in post, wont cinematographers set the white balance to the range of tungsten to achive the same? I mean how does that work? does a director say this during the pre production or post? and does the director say this to the cinematographer or to the color lab expert? and if he is saying this to the cinematographer, is the director actually interfering?
I think it depends more on whether or not it's being shot on digital or film; in digital, it would be incumbent on a cinematographer to tell him HOW red they can do it in-camera, so they have options for color correction in post. Too pronounced, can't adjust it later. But when shooting on film you aren't doing as much work with color correction later, so you basically have to get it as close in camera as possible.
Looks like anamorphic lens make soft (as in blurred) obejcts elongated slightly, like when you see a timelapse of cars on a highway, the colors are elongated. Look it up yourself, hard to explain a lot of it.
Regarding beautiful shots, I think that the director should acknowledge that there is a better shot, and try to work with his DP, Production Designer ..., that's why they are there, they are al creative people, in order to have that beautiful shot, and also tell the story that you want. My point is everybody should be flexible. Its what's better for the story. Good images, but shitty story doesn't work, nor does the other way around. Sometimes you have to compromise, and well that's okay, sometimes it can happen, you cannot shoot the beautiful shot, but at least you should always consider and try to make it work.
Wolfcrow do you think it’s possible for a first time filmmaker to learn everything from videos/forums online and go on to make a successful low budget horror film?
It would be better if u could do a vlog on visual literacy something which is forgotten by the modern society. Visual literacy- what is it? And it's necessity in our world to analyse the things around us is one of the topics that is seldom explored in a detailed way.
One of my absolute favourite Channels mate. :) Your info is fantastic. Just wondering though... how common is it for: - The DOP to be the camera operator also? - The Director to also be the DOP? Does it ever happen? (Assuming a moderate to large production here).
So normally who own the camera and gear..! Does the cinematographer buy them? Atleast the main parts like body and few lenses..? Or they completely lease them from project to project..? By the way this channel is really unique and useful. Really worthy contents and a no-nonsense presentation. Kudos to you. Keep up the good work..
The first thing to do, either if you are a director or a DP: pre-production. Every director will work with a shooting plan, shotlist and, more importantly, shooting script. It would be helpfull to have a storyboard, also. Directors who doesn't have that (except, of course, already established directors who decide to work like this because they are more artsy, or they feel they want to improvise more, but keep in mind they have much experience already) didn't do their job well. Because that is one of the main job for a director: to convert a script into a shooting script (all the info, what kind of shot, what camera movement, what angle etc etc). And remember, if you, as a DP, decide you are not on the same page with a director on those pre-production meetings, just DON'T DO the project. Is as simple as that. If that would happen more often, that will remove a lot of controversy on the set.
miko pedero sorry, dude. But you’re wrong. I was in Morelia Film Festival with a lot of people from the crew as well as the original DP Galo Olivares, they told me that Cuaron had some issues with him (who corroborated himself) and because of that, he ended up loosing the credit for DP, even if he had already shot like 2/3 of the footage. (That’s why on IMDb Galo is also credited as cinematography collaborator).
miko pedero yeah I know... I guess the truth has to be somewhere in the middle of both sides of the Story. I like Cuaron and I’m giving him the benefit of the doubt
The Director is the head in charge of all the creative process of a movie. All the creative departments work under him. One of the these is the Cinematography department headed by the Cinematographer. The director has a vision, the cinematographer in collaboration with the director, translates that vision into moving pictures through camera compositions and movements, lighting and colors. Some director who have been cinematographers may have more input, while other directors coming from other backgrounds may have less input.
When a director and cinematographer disagree on a shot I think they should film it both ways because in post, one might turn out/work better anyway or the director might change their mind. It's always better to have more footage than less footage. Great video too.
don't want to sound too pedantic but I think you mean a red flag rather than a red herring. A red flag would be an early warning sign, a red herring is something that distracts you from the main point of interest. thanks for the great videos!
I saw an interview of Steven Spielberg hé shot à scène that thé studio did nt like they Said To redo it and he Said no because thé shot was beautiful but he s thé director. very interesting the roles people have for a production
This could one man job. One who has clear vision of the movie can also be cinematographer and do all decisions. There would not be disagreements. Since the visions and perceptions will never match perfectly between two persons, one person could hande the look, framing etc better alone.
But at the same time a director is not the most experienced in lighting and camera angles and much more specific details. They can describe what they have in mind, but in reality it's up to the cinematographer to properly translate that vision. Basically, the cinematographer builds on the director's vision. (assuming both are experienced of course)
This is an awful advise. I've seen many director try to be cinematographers and most of the time their film sucks for different reasons. We're talking movies in here, made by professionals, not youtube/student shortfilms. This is a collective art form for a reason. Multitasking and expecting a good result its just delusional.
@@sheetzbrothers7371 Yeez, you know that PTA has been working on the industry on major films for the past 20+ years? Working with the best professionals (best boys, electricians, gaffers, etc..) in the industry and many times with an oscar winner cinematographer, Robert Elswit. He just did that after getting all that experience and working with some of the best professionals in the world with a 35million USD budget. That's just another league!
As I know, there is a small difference. If you shoot something with one camera, you are a cinematographer. But when you shoot something with many different cameras, you have to manage many other camera operators, that when you are called a DOP.
Dude did you film this in India? I can hear the incessant car horns outside lol. You hsve an American accent so I assumed you were in the States the whole time.
Basically director is the decision maker of all the crew and rest do their own job like cinematographer do the aesthetic side of a frame or light camera audio crew do their own job Am I right to state that?
to summarize it, the director picks the frame and movement and the cinematographer makes it happen.
Yes so basically they are “simply” executing the directors vision/ doing the physical side of things.
@Jalen Max its kinda obvious you guys are the same person because both of your youtube accounts were made only one day apart from eachother
No it depends between the director and cinematographer. They can collaborate or the cinematographer has full controll of the shots like Roger deakins and greig Fraser. Personally I rather work with writer director the ones that focus on the story and characters, because visuals is only one part of the film, you have soud, editing and among other things
In my experience, chaos ensues when people try to jump departments. On a good situation, the director pleases the producer; the DP and actors please the director; the gaffer pleases the DP, and all will be right with the world, I find.
On occasion, with lower budget sets I’ve seen gaffers conferring with directors over lighting placement, leaving the DP out of the loop, which creates tension and chaos. And as DP I’ve had to tell a director, who discussed lighting with the gaffer before talking to me, “How would you feel if I jumped past you to the producer and you were later told what we decided the next shot was, or if the actor came to you and said, “The producer and I agree that you’re making me overact.”?”
I feel so validated in my decision to leave film school now;
This video explained in 14 minutes what a film school couldn't teach me in 2 years.
A good DP absorb the mind of the director, translate and add his own material to the image. Some kind of mixing minds with the director's guidance.
Yes so they’re not exactly robots to simply move the camera am I correct ? Like they also have a creative inside that gets valued, like new BladeRunner Director D.V and the cinematographer he pairs with
@@24thewiz7 I think it's imperative that DP and all other departments infuses their own ideas, in the frame of the director's vision. That's why it's so crucial for a director to communicates his vision.
@@eddyjuillerat835 Do you know of any examples by chance where certain people collaborate often? Or maybe a movie you liked where you know of this happening?
@@24thewiz7 I know that Eastwood works with the same crew for years. Maybe the late Sydney Lumet I think.
Myself I prefer much more people I know to have the same kind of mind. Not that we have the same ideas, but we speak the same language. I'm pretty sure many directors like to work llike that.
It's truly amazing how many new film makers still don't understand the office of the Direction and his/her vision.
"Be supportive off the directors vision, even if that vision is bullshit"
Oh my God. Thankyou for this clarification. I searched all over the internet about this. Never got a good answer like this. Thanks man. A fellow Keralite.
You’re welcome!
@@wolfcrow could you recommend a book where I can learn all concepts of film cinematography ?
@@wolfcrow it would help me too. Could you please recommend a good book to learn cinematography.
@@mike2010143 You can Refer 5c's of cinematography
As a new director I learned something that I never learned from school, thank you very very much brother
Hey how are you doing?
Your are one of my favorite channel about cinematography on youtube, and movies in general. Keep up the good work!
I appreciate your bluntness. From my time on set as a director and DP, I understand how important it is for the crew to understand the chain of command and for people to know their roles.
But, I disagree about how these roles relate to each other. Just I'm not the director doesn't mean my voice doesn't matter. I would say it's always a discussion. Hopefully, majority of the talking can be in preproduction but the director isn't giving people orders like he's a king. The director needs everyone to do their job and do them well. That means they have to trust other ppl's expertise. I put a lot of value in trusting my gut. But if my whole crew thinks my idea is not as good as the DP's maybe I should humble myself and trust my team. Otherwise why work with people at all?
Spoken like a true King. It's all about humility, communication and collaboration.
Thanks for explaining the differences, very helpful
*Notes*
They usually discuss and make a choice together, but one's opinion is more important depending on the subject
*Director's call*
-Format
-Aspect ratio
-Look of the film (the cinematographer might do something, but if the director says that it should go, it's out of the picture)
-camera movement (grip is in charge of camera movement execution)
-framing
*Cinematographer's call*
-which camera
-which lenses
-t-stop
-camera operation
-what kind of lighting, how many fixtures (the gaffer is in charge of lighting execution)
He can say no, if the director puts him in a danerous or extra tiring position.
According to Wolfcrow:
it's the director's vision. So no matter how much a cinematographer wants to change the scene, it's just not possible. A cinematographer is there to help the director make his dream a movie, so he has to listen to the director. Even if the director's dream is crap ^ω^
Ultimately a great guide on the topic and also really helpful for me to be more sure about some things.
But also in the end I think some of these questions completely depend on the colaboration of the director and the cinematographer and how they work together, so it can be way different I guess
Thank you very much, this is really helpful. Please upload more informative videos like this.
After having seen many of your informative programs, its nice to see you in person :)
Just great videos from you. Allways informative.
Thank you for this wonderful education, well done
Yes, a question that does linger on my mind from time to time, thank you for this video.
I love your practicality. You seem like somebody really kool to work with.
Great work!!
1000 Thumbs Up Doc..... you are so right on every point you have made. I learn so much from your channel......thank you.
Great lesson!!
tq for your videossss... Love all of them
Excellent talk bro, thank you! keep it up...
Thank you. I like how you explained it so simply and directly.
Cheers!
I just love this lecture but my question is when you have a novice Director who due to what his colleague used to shoot his movie possible a red camera and the dp he hired suggest a black magic as appropriate camera for the shoot now the Director argues. What will the DP do in such situations?
Cool video. Very helpful.
Amazing one. Do a video on audio recording and processing process which is done in films.
Excellent my friend !
great video! thanks for that
Your vids really become high end, my friend. There is not any hope that more than some selected of us ever come even close to the things you are talking about. Except they are allready there of course. But I know, this knowledge is helpful even for hobbyists and amateurs, so I really absorb every sentence you say. Thanks a lot, it´s fascinating stuff. BTW, I download each of your videos which I have watched, just in case.
You’re welcome!
You are a good speaker BTW. Nice Video! Keep it up.
Thanks for the information. Great insight.🎥🎬🎞😎😀👍🍿
Very useful video. It really establishes the professionalism and ethics of decisions on set.
Man, you rock!
Thanks for this video i would like to do a little bit of both
I felt the frame is too much zoomed-in.
Felt kinda head-room shortage.
Mid close shot.
nothing at all wrong with choice of shot. some like close, some like far. I would say he should have mixed up the shots. but this is a talking head tutorial.
very informative. thank you
You explained it great! 👌👍
This is really insightful but when people say “The cinematography in that movie was great” what are they actually referring to? Because I always thought it was to do with the composition of the frame and the movement of the camera
Check out my Understanding cinematography series.
Jake MacDonagh Light
All the things that make good photography but adding the possibility of movement.
this video is solid gold
We both enjoyed the information very helpful, Thank you, Icarus Talent Limited, Auckland , NZ
This guy's awesome. I like the stuff he's saying and doing!
When you've gained an amount of experience as a director, you'll know it's a very fluid relationship. And especially when you and your DP have a lot of trust, you'd make the process a lot more fluid and you'll take advice from each other when shooting.
What are your thoughts on production designing working along with cinematography? Both go hand-in-hand for great coverage.
Ron Howard summed it up pretty good in his Masterclass ad, but I'll still watch xD
Thank you soo much
thank you sareesh very helpful video!
Good Info Mate
Thanks for this fact.
I am a cinematographer and I need a production company to work with, thanks
I dont see this "fighting". Directors is the shot caller, Cinematographer is the vision for the Director. If they fight, Cine, will always loose. Rarely (if ever) will the Director be fired since he is the first person hired on a set. Most directors will trust the cinematographer. Not sure where your seeing this. Here in the US, or oversees?
I'm loving your videos from the last couple of weeks
Ooh, another masterclass ad. I've been wanting a writing one. pretty expensive though
4:05 - 4:16 THANK YOU SOOO MUCH. THAT WAS THE CONFIRMATION I NEEDED, A COUPLE OF DAYS AGO, AFTER DECIDING NOT TO WORK WITH A DIRECTOR WITH THAT BEING THE BIGGEST REASON AMONG OTHERS.
Who are your all time favorite cinematographers ranked? Like top 5, top 10 ....
I'm afraid I can't give that Dave
plz make video on colour theory in film
How do you plan an outdoors shoot that needs to be at a time it doesn't rain? I personally would plan for all weather situationeel of possible but sometimes you need to have a certain weather.
Hope I'm not too late, but please check your lens/sensor for that speck of dust that appears near to the Bottom-Left Rule of 3rds intersection point. Hope you read this before you go and shoot anything else
There is a problem like that on my friends camera….any solution?
I've read that Winton Hoch, on location for the film SHE WORE A YELLOW RIBBON, fought with John Ford over what the cinematographer considered unsuitable lighting conditions that would not work with Technicolor stock. Ford "noted" Hoch's objections and told him to film anyways. As things turned out, the shots worked, but Hoch was right to warn his director about these technical risks.
thakns !!
HI, Sareesh, I think its very clean and transparent explanation the person who is woking as a cinematographer or director
I am one of your follower ..your all you tube video helping me alot .thank you ..
Hey I am from Kerala. Can you please tell me how directors and editors work together.I want to know if Directors sit through the whole process of editing, and does the director decide how much cuts should be done and so own.
Can u do one for screenplay writer Vs Director..?
If the rights to the script have been brought fully the screenplay writer has no power and could have their screenplay re-written completely.
joseph lawes-clarke Re-written by who?
@@MrLenzo24 By the director, the producer or a another writer they hired
Great insight into professional film making, thank you. Is there a lot of politics on set? Any high egos? Are people mostly professional, or is there drama and stress? I work in advertising and we do all kinds of production, from graphic, web, ux/ui design to tv and radio commercials so i have some experience in that regard. My guess is a Hollywood feature film production is not very different?
Question. What is your opinion on the level of creative input the DP has in post production? In terms of color grading.
Hey Sareesh! Can I know who creates and responsible for colour palette and colour scheme? Awaiting your response.
informative.. Loved it!!
I have a question but. You said, Cinematographer decides the parameter aspects like white balance. But What if the director say he wants a reddish texture in the result? though it could be done in post, wont cinematographers set the white balance to the range of tungsten to achive the same? I mean how does that work? does a director say this during the pre production or post? and does the director say this to the cinematographer or to the color lab expert? and if he is saying this to the cinematographer, is the director actually interfering?
I think it depends more on whether or not it's being shot on digital or film;
in digital, it would be incumbent on a cinematographer to tell him HOW red they can do it in-camera, so they have options for color correction in post. Too pronounced, can't adjust it later. But when shooting on film you aren't doing as much work with color correction later, so you basically have to get it as close in camera as possible.
Looks like anamorphic lens make soft (as in blurred) obejcts elongated slightly, like when you see a timelapse of cars on a highway, the colors are elongated. Look it up yourself, hard to explain a lot of it.
Regarding beautiful shots, I think that the director should acknowledge that there is a better shot, and try to work with his DP, Production Designer ..., that's why they are there, they are al creative people, in order to have that beautiful shot, and also tell the story that you want. My point is everybody should be flexible. Its what's better for the story. Good images, but shitty story doesn't work, nor does the other way around. Sometimes you have to compromise, and well that's okay, sometimes it can happen, you cannot shoot the beautiful shot, but at least you should always consider and try to make it work.
Wolfcrow do you think it’s possible for a first time filmmaker to learn everything from videos/forums online and go on to make a successful low budget horror film?
I will yes but you will have to work a lot on pre-production with your team and DOP.
thanks man. i always fight with my director and it was now pissing me off.
It would be better if u could do a vlog on visual literacy something which is forgotten by the modern society. Visual literacy- what is it? And it's necessity in our world to analyse the things around us is one of the topics that is seldom explored in a detailed way.
How about a director/DP as a one man job? How common is this and what kind of projects does it usually take place in? I appreciate your time here.
I solved the problem on my productions. No DP. I light it myself. 😂😂😂
One of my absolute favourite Channels mate. :) Your info is fantastic.
Just wondering though... how common is it for:
- The DOP to be the camera operator also?
- The Director to also be the DOP?
Does it ever happen? (Assuming a moderate to large production here).
Yes both are possible. The first is very common. The second is rare.
So normally who own the camera and gear..! Does the cinematographer buy them? Atleast the main parts like body and few lenses..? Or they completely lease them from project to project..? By the way this channel is really unique and useful. Really worthy contents and a no-nonsense presentation. Kudos to you. Keep up the good work..
The first thing to do, either if you are a director or a DP: pre-production. Every director will work with a shooting plan, shotlist and, more importantly, shooting script. It would be helpfull to have a storyboard, also. Directors who doesn't have that (except, of course, already established directors who decide to work like this because they are more artsy, or they feel they want to improvise more, but keep in mind they have much experience already) didn't do their job well. Because that is one of the main job for a director: to convert a script into a shooting script (all the info, what kind of shot, what camera movement, what angle etc etc). And remember, if you, as a DP, decide you are not on the same page with a director on those pre-production meetings, just DON'T DO the project. Is as simple as that. If that would happen more often, that will remove a lot of controversy on the set.
So the shooting script is decided with both of them suggestions? The dop and dir.
Super 👌
DP fights with director? That only happens in film school.
Qishi Li Don’t be so sure, during the shooting of Roma, Alfonso Cuarón didn’t get along with the DP and he ended up deleting his credit in the film.
No, as per the hear say, they fight often because of close coordination
miko pedero sorry, dude. But you’re wrong. I was in Morelia Film Festival with a lot of people from the crew as well as the original DP Galo Olivares, they told me that Cuaron had some issues with him (who corroborated himself) and because of that, he ended up loosing the credit for DP, even if he had already shot like 2/3 of the footage. (That’s why on IMDb Galo is also credited as cinematography collaborator).
miko pedero yeah I know... I guess the truth has to be somewhere in the middle of both sides of the Story. I like Cuaron and I’m giving him the benefit of the doubt
Can you do a Producer vs Executive Producer?
What type of camera did you say at 3:22?
pls do Editor Vs Director
who is responsible for the character development and the way characters are portrayed? i’ve been searching for a job like this in the film department.
The Director is the head in charge of all the creative process of a movie.
All the creative departments work under him. One of the these is the Cinematography department headed by the Cinematographer.
The director has a vision, the cinematographer in collaboration with the director, translates that vision into moving pictures through camera
compositions and movements, lighting and colors.
Some director who have been cinematographers may have more input, while other directors coming from other backgrounds may have less input.
When a director and cinematographer disagree on a shot I think they should film it both ways because in post, one might turn out/work better anyway or the director might change their mind.
It's always better to have more footage than less footage.
Great video too.
$$$$
don't want to sound too pedantic but I think you mean a red flag rather than a red herring. A red flag would be an early warning sign, a red herring is something that distracts you from the main point of interest.
thanks for the great videos!
don't want to sound too semantic but i think you mean "semantic" ;)
I do all three myself!
Interesting, thanks, but we can all agree this is just generally speaking.
The cinematography of the video could be better, though.
Is it cameraman and cinematographer/dop are the same?
I saw an interview of Steven Spielberg hé shot
à scène that thé studio did nt like they Said To redo it and he Said no because thé shot was beautiful but he s thé director. very interesting the roles people have for a production
Great video, although the term "red herring" refers to something you think is important but actually isn't. Bad omen would be better.
I think he meant to say 'red flag'
Yep, that's the phrase I was thinking of.
That phrase caught me also. I thought it was me. Red herring is a logical fallacy.
This could one man job. One who has clear vision of the movie can also be cinematographer and do all decisions. There would not be disagreements. Since the visions and perceptions will never match perfectly between two persons, one person could hande the look, framing etc better alone.
But at the same time a director is not the most experienced in lighting and camera angles and much more specific details. They can describe what they have in mind, but in reality it's up to the cinematographer to properly translate that vision. Basically, the cinematographer builds on the director's vision. (assuming both are experienced of course)
This is an awful advise. I've seen many director try to be cinematographers and most of the time their film sucks for different reasons. We're talking movies in here, made by professionals, not youtube/student shortfilms. This is a collective art form for a reason. Multitasking and expecting a good result its just delusional.
Paul Thomas Anderson just successfully experimented with pulling double duty himself on "Phantom Thread". Super interesting!
@@sheetzbrothers7371 Yeez, you know that PTA has been working on the industry on major films for the past 20+ years? Working with the best professionals (best boys, electricians, gaffers, etc..) in the industry and many times with an oscar winner cinematographer, Robert Elswit. He just did that after getting all that experience and working with some of the best professionals in the world with a 35million USD budget. That's just another league!
*I kept hearing anthropomorphic, cuz that applies to Wes Anderson too... gotta watch fantastic mr fox yall.*
Triple LIKE! ;)
So helpful thanks! Is there a difference between a DP and a cinematographer?
You’re welcome! No.
There the same exact thing but with different names, DP just stands for director of photography
As I know, there is a small difference. If you shoot something with one camera, you are a cinematographer. But when you shoot something with many different cameras, you have to manage many other camera operators, that when you are called a DOP.
Anh Tran no.. DP or DoP simply means Director of Photography :)
We are talking about a DP vs a cinematographer.
Sir, I feel lighting should be decided by Cinematographer and ambience should be decided by the director. It's just my opinion.
By the way a quick question do you watch Korean movies?
Dude did you film this in India? I can hear the incessant car horns outside lol. You hsve an American accent so I assumed you were in the States the whole time.
U are very passionate film.am now projecting on iPhone hindi content cinema will u be my crew?
Basically director is the decision maker of all the crew and rest do their own job like cinematographer do the aesthetic side of a frame or light camera audio crew do their own job
Am I right to state that?
where are you based at....