Answering Frequently Asked Questions
It’s an exciting time to be a filmmaker in Australia and fostering people’s interest in the industry is important to the growth and continued success of our industry. So, I’ve looked back at some of the common questions I’ve been asked in interviews over the years and collected them into this handy blog.
If you’re interested in learning more about being a Videographer or Director of Photography read on to learn my thoughts!
What’s the difference between a videographer and a Director of Photography?
A videographer films videos by themselves or in a small team. These video projects are often corporate or brand videos designed around a specific message, product, or service. The end result is less about narrative storytelling and more about commercial objectives, interviews and creating emotion through beautiful imagery, all with the intent of selling or building a brand. A Director of Photography (DOP) is more of a management role, orchestrating a whole team of professionals in lighting, camera, and gripping departments to execute the vision designed by the DOP and Director during the pre-production process.
What does a Director of Photography do on set?
A DOP is as the name suggests the director of the photography on a film set. They collaborate with all departments to curate the imagery and deliver the visuals that the director requires to tell the story.
What is the most misunderstood part of being a Director of Photography by those outside of the industry or just starting?
People outside of the film industry often just think of a DOP as a camera operator role. As I gain more experience in cinematography, I find the roles are more management based. It becomes less about the technical ability of operating a camera and more about the choreography of the whole department to photograph the script as faithfully and as in line with the director’s vision as possible.
Projects
What’s the biggest difference between working on a feature film and shorter projects like ads or short films?
The biggest difference for me is just the time scale. Short films and ads are sprints and can often be organised and prepared thoroughly. Feature films really test your organisation and management of imagery over a long period and are a challenge in consistency over the course of many weeks, days and shots.
How do you develop the visual style of a project?
For me the most exciting part of a film is the pre-production process. During pre-production, the world is your oyster, and you can really have ideas and inspiration without the constraints of execution and time. Throughout those weeks I sit with the director and other heads of department; collaborating on how we all see each scene, discuss what they are meant to say and how we can translate the words from the page to images on the screen.
At what point do you normally join a project? How much pre-planning are you involved in?
It is different from job to job. I have been hired for a film weeks before pre-production starts and have only had a few interviews and discussions with the director. On other projects I already have a working relationship with the director and can influence decisions and discussions months and years before the film begins shooting.
What decisions are you ultimately responsible for during projects? Does this change much between different types of projects?
I am ultimately responsible for capturing and delivering the director’s vision. During the pre-production process I speak with the director as much as possible to get an understanding of his vision so that I am always able to offer suggestions and ideas that are in line with the visual language the director is looking to achieve.
Are shots usually fully planned before getting to the set/location or is flexibility once you get on location more important?
This depends on the project. Ideally you try to get to locations after planning as much as possible beforehand. I always like to have a shot list prior, but this is more of a guideline than a strict bible. This level of preparedness isn’t always an option though and being able to problem solve and roll with the punches is also a key skill I rely on when shooting.
Once you receive a script, what is your process and how do you approach it?
I try to read the script the first time without thinking of the camera angles or lighting and just read it as a story. From there I normally do multiple passes, writing down ideas or tools that will be needed for the execution. I also try to spend time with the director breaking down each scene individually. Any insights on how they see each arc, character choice and decision are essential on how I can contribute to that vision.
Career
How did you get started as a cinematographer?
I studied a Bachelor of Creative Arts at Flinders University in Adelaide. It was there I really learnt how to approach films analytically. Study was also a great way to meet likeminded aspiring filmmakers and to get on as many low budget projects as possible.
How important is going to film school?
I found film school was less about learning techniques than it was learning how to watch and understand films. YouTube is now a great resource for learning about filmmaking techniques and tools and something I still use to discover new gear and approaches.
If you were starting your career today, what steps would you take to break into the industry?
I would focus on building relationships and getting on as many film sets as possible. Sets are such a unique and hierarchical world and understanding their ins and outs is essential early on in your career.
What would you recommend aspiring cinematographers’ study or watch to improve?
I would recommend just watching as many films as possible. Use these to discover what you do and don't like visually. Once you have an idea of that you can begin dissecting deeper, looking at specific camera angles and lighting setups that you can test and use in your own projects.
What habits or mistakes hold people back early in their career?
Problem solving is an essential skill and something that often holds beginners back. No matter how thorough and comprehensive your plans are, things will always change. Being able to work with those changes and deliver something that is fundamentally different but still in line with your original ideas is key to every project I have worked on.
Equipment
Would you recommend using different equipment on ads or commercial projects over feature films or short films?
I think there are definitely some key pieces of gear that you can buy that overlap all forms of the process, but this is a more personal and bespoke choice for each aspiring filmmaker to make. I will warn you, gear can be really expensive and often anything that gets you out shooting is more important than buying the best of the best, early on.
What is your go-to camera system and lenses? Does it change depending on the project or do you have a favourite set up you prefer to use as often as you can?
I own an Alexa Mini LF camera kit which is my go-to for every project I am on at the moment. I love the larger format and try to choose lenses on a job-by-job basis that fit the visual language of what that film requires.
What equipment would you say is the most important for an upcoming cinematographer looking to get into the business?
I would prioritise just getting your hands on any camera you can. The more you work with a camera the more you can understand how to use them to achieve your goals on set.
What mistakes do beginners often make with lighting? What are the most common mistakes when setting up a shot?
The most common mistake I see these days is people just pulling out every light and modifier they can as soon as they can just because they saw someone do it on YouTube. I believe that, often, the more lights you use, the more a set up can feel contrived, and that striving for a smaller footprint allows more freedom to the actors and director to utilise the space and deliver compelling performances.
What’s more important for a shot, lighting or camera/lens choice?
This definitely depends on the shot. Ultimately my goal is always to make the image that I am capturing in two dimensions look as three dimensional as possible. This can be achieved by either camera blocking, lighting, or lens choices and often is a mix of all elements.
How important is higher end gear? Does it make a big difference?
I think high end gear makes less of a difference now as the prosumer gear market explodes with better and more accessible filmmaking tools. For me it is about getting your hands on the tools as early as possible so that you can understand them and use them correctly to achieve the visuals you are aiming for.
I hope you enjoyed this insight into the world of cinematography, and it’s answered some questions you may have had. I hope to have the opportunity to help more aspiring filmmakers in the future!