My next project I plan on working with a dedicated DOP. I'm moving out the whole "do everything yourself with an AC phase".
What are somethings I should have for my DOP? How much, in terms of creating shots, should I expect him to do? How much should I be micromanaging?
For example, I might have a handful of scenes that I have specific idea for it, like "Hey I want to have this camera angle because I am emulating this shot from a movie" but for the most part I'm story guy. Is that okay? Can I just - let me DOP plan all my shots for me? Or is that gross negligence on my part?
I don't think a DOP, or a good one at least, could ever come up with a shot I didn't like - hell I'd shoot every scene as goddam medium shot if it were up to me. Not that I like medium shots, but I have no interest in the shots them selves. I'm more concerned with the action and dialogue and acting.
If I write a scene, It goes like
Tom enters the room, he pulls out a gun and threatens Jim. - In my mind. That's all one wide shot.
But if my DOP says "Hey, were gonna have a close up of the door handle moving, and then pull back show the door opening and pan over to Jim to get his reaction as Tom walks in...yadda yadda." I can't imagine I would really pay that any mind.
But then again is safe to assume he'd be doing that? I think that's part of his job criteria, but I've never worked with one/around one before so what do I know?
So how far off am I? Am I going to be a DOP's nightmare because I leave every shot to him? I like to think I am extremely easy to please, so I won't be, but it seems like the workload fluctuates between films - some DOPs having more powers on certain projects then others.
If it helps, I've been told I write very dialogue heavy (trying to work on that) with less action. I suppose there would need to be some creative camerawork to keep the audience interested.
Edited by Daniel Mooney, 11 December 2013 - 08:41 PM.