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another begginer


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#1 robert collins

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Posted 31 October 2005 - 09:08 AM

hello!

i have just joined up on this very informative website and happy that i can ask a few questions

i have be a very succesful fashion photographer for the last 12 years and have developed a great eye for lighting and composition and now would like to become a DP
i have had the opportunity to shadow some really good Dps on tv commercials and have a good undestanding of how things work on sets etc

www.factoryfoto.com photographer is robert collins [see style of work]

i know i need to build a reel to show my vision but, my question is- what do i shoot?
what do DP reps look for and where do i go from here?

and becoming a working DP in 4 to 5 years ?

do is shoot digital or film etc- lots of questions going around in my head

if any advice can be given on the next steps it would be greatly appreciated

thanks
robert
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#2 Rolfe Klement

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Posted 01 November 2005 - 12:06 AM

You have some nice work up on your site. Congratulations.

In my opinion (I stand open to correction) the most important thing is relationships with directors and producers - they get you the work - 95% is based on word of mouth, 4% on other FEATURE FILMS you have shot and 1% on a reel.

I have some serious Fashion Stills friends in London and it is a very similar world - years of being an assistant then contacts and slowly your own clients (agencies etc)

In your advantage you have a great understanding of editorial lighting, a pool of wonderful people (talent, make up and Art Direction) to draw upon when shooting demo reel footage.

Another facet to be aware of is the difference between editorial | fashion and photo journalism - not every director wants a soft light with clean perfect frame line - they might want mess and dirt and errors - so be careful when planning your demo reel - it is very easy and quick to become pigeon holed (Ahhh - he is the DP who shoots couples on hills with 2 white Labrador dogs during sunsets for beer adverts!) - this includes the way you work focus issues - camera operation etc

Getting to the equipment is one big problem - even worse than editorial - cause a decent camera and lenses is going to run to $200 000 very very quickly - so getting time and physical exposure to the kit is hard but not impossible

The lighting is slightly different but with Breise and Arri etc crossing over the gap is getting smaller - but 3 years ago access to the editorial softness of Breise lighting for film was almost impossible - vice versa for HMI lighting in fashion

The relationships with Grips, best boys, Focus Pullers are all things that take time

Read David Mullen's excellent posts in Production about "the Astronaut farmer" - there is far more to being a DP than lighting

But it is possible. Hope this helps

thanks

Rolfe


Oh and you ONLY want your reel shot in film in 2.40 with anamorphic primos on a Panavision XL2 on a 50ft technocrane - cause it doesn't get any better | more expensive than that :)

Oh and Dave Hussey to do your TK (telecine transfer) and may as well get Hans Zimmer onto your music

:D
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#3 Chris Fernando

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Posted 02 November 2005 - 12:27 PM

Oh and you ONLY want your reel shot in film in 2.40 with anamorphic primos on a Panavision XL2 on a 50ft technocrane - cause it doesn't get any better | more expensive than that :)

Oh and Dave Hussey to do your TK (telecine transfer) and may as well get Hans Zimmer onto your music

:D



:blink: You're scaring me now!
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#4 John Hyde

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Posted 02 November 2005 - 11:37 PM

I have seen lots of fashion material shot during a still shoot using a mixture of various formats. The format that always seems to stand out is super 8 film. Either shot entirely or as a contrast against another format is really quite compelling with a good DP, telecine and edit job. The grain and surreal look also makes mediocre models look gorgeous.

The idea is to tack the motion picture part of the budget together with the stills. This is why shooting the low-end format in a creative way can really help to keep the cost low while providing a high-end result.

Taking the film a step further as super 8 helps too. Processing methods like cross processing, pushes pulls etc. A creative colorist that uses special techniques to get the image to look really beautiful (such as slowing it down, applying special filters, brushes and plastics to the film gate, etc.)

The people who do a really good job with special super 8 applications is Spectra Film and Video. They have cameras, film, lab and telecine on site and will walk you through the process (as they did with me). For a job like this they are the ideal people to call.
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#5 robert collins

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Posted 12 November 2005 - 08:30 AM

You have some nice work up on your site. Congratulations.

In my opinion (I stand open to correction) the most important thing is relationships with directors and producers - they get you the work - 95% is based on word of mouth, 4% on other FEATURE FILMS you have shot and 1% on a reel.

I have some serious Fashion Stills friends in London and it is a very similar world - years of being an assistant then contacts and slowly your own clients (agencies etc)

In your advantage you have a great understanding of editorial lighting, a pool of wonderful people (talent, make up and Art Direction) to draw upon when shooting demo reel footage.

Another facet to be aware of is the difference between editorial | fashion and photo journalism - not every director wants a soft light with clean perfect frame line - they might want mess and dirt and errors - so be careful when planning your demo reel - it is very easy and quick to become pigeon holed (Ahhh - he is the DP who shoots couples on hills with 2 white Labrador dogs during sunsets for beer adverts!) - this includes the way you work focus issues - camera operation etc

Getting to the equipment is one big problem - even worse than editorial - cause a decent camera and lenses is going to run to $200 000 very very quickly - so getting time and physical exposure to the kit is hard but not impossible

The lighting is slightly different but with Breise and Arri etc crossing over the gap is getting smaller - but 3 years ago access to the editorial softness of Breise lighting for film was almost impossible - vice versa for HMI lighting in fashion

The relationships with Grips, best boys, Focus Pullers are all things that take time

Read David Mullen's excellent posts in Production about "the Astronaut farmer" - there is far more to being a DP than lighting

But it is possible. Hope this helps

thanks

Rolfe
Oh and you ONLY want your reel shot in film in 2.40 with anamorphic primos on a Panavision XL2 on a 50ft technocrane - cause it doesn't get any better | more expensive than that :)

Oh and Dave Hussey to do your TK (telecine transfer) and may as well get Hans Zimmer onto your music

:D


hello Rolfe

thankyou for your reply and insight which has been a great help

regards
robert collins
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Visual Products

Media Blackout - Custom Cables and AKS

Aerial Filmworks

Tai Audio

FJS International, LLC

Metropolis Post

Rig Wheels Passport

CineLab

Paralinx LLC

Gamma Ray Digital Inc

Glidecam

The Slider

Ritter Battery

Technodolly

CineTape

Broadcast Solutions Inc

rebotnix Technologies

Opal