Film Form – Cinematography Lecture + Camera Tutorials (Andrew O’Connor)

16-04-2023

Andrew emphasised to us the importance of experiential learning. This allows you to reflect, establish, and test generalisations and develop new experience within the camera department and role of DoP.

Role of the DoP Defined

Create the look and feel of the film in collaboration with the director.

Create and gather reference images and mood-boards.

Craft the entirety of the image – lighting, lens, camera movement, and colour.

Try not to think about the script visually until you understand the story – TIP: read it 2-3 times.

Break down the script visually once you fully understand the characters, feel, and setting.

Present visual ideas and references to discuss with the director.

Work out the technical requirements – lens, camera, lighting kit.

• Does the camera move? Do you need a dolly? Steadicam?

Refine all of the mood-boards between the different HODs.

Know how to differentiate between the things you like vs. what the film needs specifically as a director.

Go on initial location recces. If it’s a set build, you would be involved with technical decisions about the size of set and how many walls it has.

Create scene-by-scene mood boards for visual inspiration.

Take photos on recces and figure out how the space might work in relation to the script. Think about where the sun will be throughout the day in relation to the space and how that might affect the approach to lighting.

Discuss how sunlight will affect the shooting schedule and lighting possibilities.

Remember that shooting dawn and us is virtually indistinguishable. They have a similar look.

Using the sun as a backlight is favourable – it will fall off the camera.

Do technical recces after confirming location with the other HODs. Does it need any specialist rigging for lights/power supply/etc?

With locations confirmed and kit requirements accounted for, it’s time to start working on floor-plans, the shortlist, and storyboards.

BEFORE the shoot it is the responsibility of the DoP to do camera tests.

• Any creative ideas require technical tests – ex. focal length, contrast, colour.

Make visual rules to follow and create cinematic themes.

On shoot, block the scene with the actors and director to allow for the correct look via the lighting setup.

Remember to get some distance from your project and revisit with fresh eyes.

Watch the rushes after each shoot to see if anything needs a reshoot or pick-ups.

After the film is edited, the DoP works with the colourist and director to grade the film.

• The DoP isn’t likely to grade the film as that’s the job of the colourist.

DoP’s Kit

Colour chart (can alternatively rely upon false colour).

Light meter (ratio).

Gaffer’s glass (also known as a ND or neutral-density filter).

What is false colour?

• An exposure tool with an IRE waveform (0 = pure black, 100 = pure white) with colour overlays. Allows for a visual representation of exposure and brightness.
• There’s a false colour plug-in for Davinci Resolve – to see where the exposure is and the contrast ratios. Keep in mind it’s graded. Light for a half-stop.

What is a colour chart?

• A tool guaranteed to be the same in all editing softwares. Used to match for consistency.

DoP Tips + Tricks

A ‘wet-down’ refers to wetting the ground in night scenes for dimensionality and texture.

Re-watch any references scenes as your memory can alter it.

References should always be visually coherent and consistent.

Reference analysis should involve focal length, lighting ratios, etc.

Over-estimate lighting set-up times – add an additional 20-30 minutes.

Knowing where to place a key light in any given place or space is a skillset in itself.

There are repeated patterns in almost any image, regardless of the aesthetic.

Test cameras to their breaking point.

A camera is a camera. Test to see the differences. You will have people on-set (such as the AC) who will know it inside and out.

You do not need to know every camera system.

There should be a testing period on fiction projects.

If you work as a trainee, you typically work on larger projects.

Become a spark in the lighting department to understand light – you will be much further ahead in knowledge and skill than the average DoP who hasn’t been a spark.

Show your talent on social media.

Speak to 2nd ACs or camera trainees to get jobs in the camera department. The DoP cannot hire you, they have been hired themselves.

Don’t be afraid to message people on Instagram.

The most important elements to consider are aspect ratio, focal length, quality of light, and colour.

Test aspect ratios!

Lighting is all about contrast ratios, leading the eye, and perceived darkness.

Camera Tutorials – Main Takeaways

Expose for any practical lights in the background.

Use wet-downs to create texture.

Lighting for wides is difficult. Wide shots can be shot on telephoto lenses, but it will result in shot compression and emphasis on foreground elements.

Make sure your lighting is motivated.

Lighting from above can create the wrong type of shadows.

Be wary of double shadows when using a black flag.

Diagonal lighting and shadows are the most cinematic.

Key light should always be a blended light. Don’t allow it to spill and reveal itself.

If you have unwanted reflections, use black-wrap or a black flag.

To soften light use tough spun, white cloth, or something with a shower curtain material.

9 times out of 10 light on the opposite side to the camera.