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Responsibilites of the Director of Photography


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#1 Tim Carroll

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Posted 13 March 2007 - 08:15 AM

I stumbled across this today and found it to be a great reference. So I thought I'd share it.

The Responsibilities of the Cinematographer

The cinematographer?s responsibilities as outlined below is an attempt to describe the duties a cinematographer is likely to encounter during his/her career. No two jobs are the same and the duties will contract or expand depending on the scale and complexity of the job. As can be seen, there is a vast amount that a cinematographer is required to know and do and this can only be learnt over a number of years of filming. Thanks to John Hora ASC who drew up this list for publication in the ?American Cinematographer? magazine.


I. PREPRODUCTION

A. Conceptual Research and Design
? Discuss all aspects of script and director?s approach to picture in preliminary talks with director
? Analyze script as whole
? Analyze story structure
? Analyze characters
? Research period, events, general subject and appropriate design elements
? Devise style, visualize approach
? Continue talks with director on new ideas
? Come to agreement with director
? Discuss and come to agreement with production designer
? Discuss and research with technical advisor

B. Practical Research and Design
? Ascertain or find out budget requirements
? Recon and approve locations
? Plot sun position for locations
? Check local weather
? Check tide tables near ocean
? Review, discuss and approve set plans
? Review and approve props, action vehicles, airplanes, boats, horse-drawn vehicles, mock-ups and miniatures

C. Technical Research and Design
? Visit laboratory to calibrate, customize and evaluate exposure system for any combination of electronic or chemical image capture; and establish developing, printing, set timing and transfer protocols
? Visit rental houses
? Explore new equipment
? Learn how new equipment works
? Invent (or cause to be invented) special equipment or techniques for show
? Standardize and create effects bible for show
? Help create and approve any story boards
? Design (or cause to be designed) and approve any built-in or practical lighting fixture
? Design lighting-plot plan and rigging for stages and locations with gaffer and key grip

D. Quality Control
? Choose and approve crew, film stock, lab, equipment, second-unit and visual-effects crews
? Supervise manufacture and testing of new or modified equipment
? Visit sets under construction
? Approve wild walls, ceiling pieces and any moving set pieces
? Check lighting-fixture crew
? Walk locations and stages with all departments to discuss requirements
? Approve set colors and textures
? Approve costume colors and textures
? Approve makeup and hair
? Generate (or cause to be generated) and approve equipment lists for camera, electric and grip
? Check rushes screening rooms for correct standards and/or check quality of rushes telecined to tape.

E. Implementation
? Approve stand-ins
? Train crew to use any new equipment
? Walk locations and stages with director and devise shooting plan
? Make list of special equipment for production manager and indicate number of days required
? Work with assistant director on shooting schedule (order of and days required for each scene)
? Estimate and order film stock (type, size and quantity)
? Generate (or cause to be generated) and approve rigging and shooting manpower and man-days
? Assist other departments in getting required equipment, manpower and tests
? Maintain regular contact with other department heads.
? Mediate any problems between departments
? Check loading of production trucks or cargo containers for location or international shipping
? Visit cast run-throughs and rehearsals
? Advise and back up director on any problems
? Help producer or studio solve any production problems

F. Testing
? Shoot tests for style
? Shoot tests for lab
? Shoot tests for lighting of principal actors
? Shoot tests for camera and lenses
? Shoot tests for wardrobe and makeup
? Shoot tests for any special effects processes, unusual rigs, props or methods


II. SHOOTING

A. Planning
? Check and approve all call sheets and shooting order of the day's work

B. Blocking
? Watch rehearsal of scene to be shot
? Devise shot list with director (coverage)
? Choose lens and composition; show to director for approval
? Make sure composition and movement fulfill scene task
? Work out mechanical problems with camera operator, assistant camera, dolly and crane grips
? Set any camera-movement cues
? Place stand-ins and rehearse, fine-tune
? Ensure proper coverage of scene for editor
? Work with assistant director on background action

C. Lighting
? Design lighting to show set/location to best advantage relative to story, style and dramatic content
? Light each actor to reinforce and reveal character
? Make sure mood and tone of light help to tell story
? Design light for minimum reset time between set-ups
? Utilize standby painter for control of highlights, shadows, ageing, dusting-down of sets and props
? Set any lighting cues (dimmers, spot lights, color changes and any pre-programming)

D. Preparation
? Work out any sound problems
? Work out any problems with other departments
? Check, set and approve all stunts with stunt co-coordinator
? Set any additional cameras required for stunts
? Double-check safety with all concerned
? Show shot to director to make any final changes
? Get actors in for final mechanical rehearsal; solve any outstanding problems

E. Photography
? Photograph scene
? Approve or correct take
? Check parameters and reset for next take
? Shoot any plates
? Shoot any video playback material
? Move to next set-up

F. Administrative
? Define first set-up in morning and after lunch
? Make sure that stills are taken of scene
? See that "making of" and/or EPK crews get needed footage
? Make sure script supervisor has any special camera or lighting notes
? Check film raw stock inventory
? Try to shoot up short ends
? Check that camera logbook is being kept up to date
? Complete day's work
? Discuss first set-up for the next day
? Ensure that camera, electrical, and grip crews get all copies of equipment rental or purchase invoices and approve before accountants pay vendors
? Take care of any future or ongoing production issues
? Answer any questions about future problems
? Visit production manager and producer at end of day
? Check for return of all unused equipment

G. Quality Control
? Call in for lab report
? View previous day's work in projected rushes with director, producer, editor and camera crew
? Discuss and approve rushes
? Consult with makeup, wardrobe, production designer and assistant director about rushes
? View, discuss, correct or approve second-unit or effects rushes
? Order reprints if necessary

H. Training
? Teach beginning actors movie technique (hitting marks, size of frame, lenses, etc.)
? Train camera crew for next job up the ladder

I. Contingency
? If director is disabled, finish day's shooting for him or her


III. POST PRODUCTION

A. Additional Photography
? Discuss and be aware of delivery dates for all post-production
? Photograph or approve any additional scenes, inserts, special effects or second-unit footage.

B. Grading (Color and Density)
? Grade and approve trailer for theatres and TV
? Approve all optical and digital effects composites
? Grade the picture
? Regrade until correct

C. Quality Control
? Approve final answer print
? Show to director for OK
? Approve interpositive (IP)
? Approve internegatives (IN)
? Approve release prints
? Approve show prints from original negative
? Approve all blow-ups or reductions

D. Telecine/Color Correction
? Supervise and approve film or digital original transfer to electronic or film media (Hi-Def, NTSC, PAL, Secam masters, digital intermediates, archival masters, etc.)
? Supervise and approve all transfers to and from digital intermediates
? Supervise and approve all letterbox, pan and scan or reformatting of film
? Supervise and approve tape-to-tape color correction and VMS, DVD, digital projection media, etc.
? Show electronic transfers to director for OK

E. Publicity
? Do any publicity (newspaper, magazine, Internet, radio, TV, DVD commentary, etc.)

F. Restoration/Archival
? Be available for any future reissue, archival reprint or electronic transfer of film.
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#2 Francesco Bonomo

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Posted 13 March 2007 - 09:21 AM

It's the very first 4 pages in the American cinematographer manual.
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#3 James Brown

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Posted 14 March 2007 - 01:02 AM

Hi,

Attached is the link if anyone wants to forward it to friends.

http://www.bscine.co...l/rolecine.html
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#4 Olex Kalynychenko

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Posted 14 March 2007 - 04:46 AM

I stumbled across this today and found it to be a great reference. So I thought I'd share it.

The Responsibilities of the Cinematographer

? Be available for any future reissue, archival reprint or electronic transfer of film.


Possible, anybody have a similar documents of a another specialists of crew ,
the standard text of the contracts, other important documents ?
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Broadcast Solutions Inc

Glidecam

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Wooden Camera

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