"Don't bother with books. You can read 100 books on cinematography and be a shit DOP. To be a Director of Photography you need hands on experience as well as knowledge but you'll get this knowledge by doing, not reading. Try watching some online videos and use what you see to get your own look, that's when you go from a camera operator to a DOP." (Lee Thomas)
With this, I went online to find some more Cinematographers who have done some online Masterclasses. I was aiming to find those who have worked on Documentaries, while looking I found a Masterclass produced by CookeOptics TV which the award winning cinematographer Mike Eley who has been the DOP for documentaries such as Marley (2012), Fire in the Night (2013) and the BAFTA Award winning documentary Touching the Void (2003):
When Mike is being asked what kit he would take on a documentary, he explains that the choice of camera depends on what he is 100% comfortable with and confident with. This is something I've found already with my research into DOP's, Sam Creamer explained to me when showing me the Black Magic Mini Ursa that it's a camera that only experienced DOP's should use and that I should go with a camera I'm confident in operating rather than something completely new. Mike says the same here and explains that the DOP needs to be confident in his operating before looking for the look of the film as this can ruin the film. He also explains that often documentary shoots only have 1 crew member so is doing everything.
Mike goes on to talk about choosing locations for interviews and explains that he always tries to use natural light, if he can avoid bringing in artificial light he will. He tries to put his contributors next to a window or outside where the light is natural. He also explains his choice of location need to work with all shots, so in a living room is good if there's also pictures on the walls in the background as you'll have the interviewee on the couch with a wide shot but when you cut to a close up you'll still have detail in the background.
Finally Mike talks about a lighting set up for an interview and says he often has a bright source light which he can soften down which I've done with Ru and Natasha's interviews during my camera tests and this did work well for me.
Next I found a filmmaker called Jesse Cervantes who is a independent brand designer and documentary filmmaker. Although I have never seen his work, one of his YouTube videos 7 Fundamental Steps to Film a Short Documentary came up when I was looking for online Masterclasses. I think even though he's not a Hollywood DOP or a DOP who has made documentaries for the BBC, Channel 4 or ITV, it's still worth using as research as often it's the independent filmmakers who find small but helpful tricks for filming on short budgets and as I've often been told... there aren't any rules to filmmaking, only guidelines:
1. Finding a worthwhile Idea
Most of what Jesse talks about in the first step is for Producers/Directors/Writers about finding the idea, however, at the end of this section he talks about the B-Roll for the idea. He explains that even if you have a great character, what are you going to show to help tell the story to help tell the story and show the story.
2. Research
He suggests watching documentaries which I'm currently doing and explains how helpful this can be for inspiration.
3. Story Structure
This section was about actually interviewing and was more useful for Jemma or Victoria.
4. Filming / A-Roll
This is where Jesse talks about filming the interviews and explains the rule of third which I actually don't agree with as I've seen high end documentaries filming lock off shots with the interviewee centre frame and this works just as well but does explain that choosing the position of the camera and how far/close it is to the subject needs to be considered for the focal length.
He moves on to B-Roll, where he explains that the creativity comes into play here. He explains changing shots as often as possible, close ups, pull focus, shoot through an object, prime lens shots, as many different shots of the same thing for coverage in the edit and as much footage as you can get to tell the story. Even changing the shot to shoot high and low adds to creativity and makes the footage a bit more interesting.
He explains that movement should be kept to a minimum which I disagree with completely. He states that if you haven't got a stabilizer it's not worth it yet most documentaries I've seen have handheld footage and the DOP's I've spoken to agree it's worth getting as it's classic for a documentary.
5. Audio
Here Jesse explains that the choice of music is important to fit with the story (post-production job which also requires Directors choice). One of the main points he did make during this was setting up a clip mic, he explained you don't want it inside the clothes of the subject because you'll get noise but you can't have it just stuck outside because it'll stand out and won't look as good. He explained finding a spot such as the side of a shirt or something like that allows you to hide the mic and keep the audio clear and clean.
6. Making subjects comfortable
This is more useful for Jemma as she'll be conducting the interviews but he explains that talking the contributors through how the filming process works and things like that works really well in calming them down as they may have never been on film before. As well, it helps them understand who the crew are which will help since they'll be spending so much time together.
Jesse was helpful and I continued to look for videos, Next video I found was below and this is something I hadn't even considered as a DOP or even as a crew member:
Rob Nelson is a Filmmaker who is a regular contributor to the Science Channel documentary What on Earth? He has his own YouTube channel and through this video he talks about how to act and present yourself on set. He talks about being positive and thinking positive and how this is the better way to work and it helps make shoots better. He also explained that presenting yourself well in the way you dress is good, not turning up in a suit but wearing clothing that isn't inappropriate, for example when I'm shooting I often where hiking boots for comfort while on set, cargo pants and a black t-shirt so I'm comfortable and also not dressed too informal.
He also talks about anticipating the shots. Thinking on your feet to get different shots to make the Directors job a bit easier, I did this on forever HOME when I was filming the dogs and decided to do a lens swap and get some prime lens footage to bring the audience closer in. It worked well and made the Director really happy. Also explaining having a good work ethic which I hadn't considered as we'll likely be filming long days with Tanya and later when she's gone we'll still be working by logging footage and having production meetings and it helps to keep the crew happy and going if there's a good work ethic.
Finally, he talks about taking critic well and not trying to justify your reasons, take the feedback well and work off it but obviously that doesn't mean change every little bit of the film depending on 1 persons feedback, see what everyone says and get a collective group and work off it to improve the film.
All of these videos have given me some really useful help in helping me think how I need to be as a DOP.
Mike goes on to talk about choosing locations for interviews and explains that he always tries to use natural light, if he can avoid bringing in artificial light he will. He tries to put his contributors next to a window or outside where the light is natural. He also explains his choice of location need to work with all shots, so in a living room is good if there's also pictures on the walls in the background as you'll have the interviewee on the couch with a wide shot but when you cut to a close up you'll still have detail in the background.
Finally Mike talks about a lighting set up for an interview and says he often has a bright source light which he can soften down which I've done with Ru and Natasha's interviews during my camera tests and this did work well for me.
Next I found a filmmaker called Jesse Cervantes who is a independent brand designer and documentary filmmaker. Although I have never seen his work, one of his YouTube videos 7 Fundamental Steps to Film a Short Documentary came up when I was looking for online Masterclasses. I think even though he's not a Hollywood DOP or a DOP who has made documentaries for the BBC, Channel 4 or ITV, it's still worth using as research as often it's the independent filmmakers who find small but helpful tricks for filming on short budgets and as I've often been told... there aren't any rules to filmmaking, only guidelines:
1. Finding a worthwhile Idea
Most of what Jesse talks about in the first step is for Producers/Directors/Writers about finding the idea, however, at the end of this section he talks about the B-Roll for the idea. He explains that even if you have a great character, what are you going to show to help tell the story to help tell the story and show the story.
2. Research
He suggests watching documentaries which I'm currently doing and explains how helpful this can be for inspiration.
3. Story Structure
This section was about actually interviewing and was more useful for Jemma or Victoria.
4. Filming / A-Roll
This is where Jesse talks about filming the interviews and explains the rule of third which I actually don't agree with as I've seen high end documentaries filming lock off shots with the interviewee centre frame and this works just as well but does explain that choosing the position of the camera and how far/close it is to the subject needs to be considered for the focal length.
He moves on to B-Roll, where he explains that the creativity comes into play here. He explains changing shots as often as possible, close ups, pull focus, shoot through an object, prime lens shots, as many different shots of the same thing for coverage in the edit and as much footage as you can get to tell the story. Even changing the shot to shoot high and low adds to creativity and makes the footage a bit more interesting.
He explains that movement should be kept to a minimum which I disagree with completely. He states that if you haven't got a stabilizer it's not worth it yet most documentaries I've seen have handheld footage and the DOP's I've spoken to agree it's worth getting as it's classic for a documentary.
5. Audio
Here Jesse explains that the choice of music is important to fit with the story (post-production job which also requires Directors choice). One of the main points he did make during this was setting up a clip mic, he explained you don't want it inside the clothes of the subject because you'll get noise but you can't have it just stuck outside because it'll stand out and won't look as good. He explained finding a spot such as the side of a shirt or something like that allows you to hide the mic and keep the audio clear and clean.
6. Making subjects comfortable
This is more useful for Jemma as she'll be conducting the interviews but he explains that talking the contributors through how the filming process works and things like that works really well in calming them down as they may have never been on film before. As well, it helps them understand who the crew are which will help since they'll be spending so much time together.
Jesse was helpful and I continued to look for videos, Next video I found was below and this is something I hadn't even considered as a DOP or even as a crew member:
Rob Nelson is a Filmmaker who is a regular contributor to the Science Channel documentary What on Earth? He has his own YouTube channel and through this video he talks about how to act and present yourself on set. He talks about being positive and thinking positive and how this is the better way to work and it helps make shoots better. He also explained that presenting yourself well in the way you dress is good, not turning up in a suit but wearing clothing that isn't inappropriate, for example when I'm shooting I often where hiking boots for comfort while on set, cargo pants and a black t-shirt so I'm comfortable and also not dressed too informal.
He also talks about anticipating the shots. Thinking on your feet to get different shots to make the Directors job a bit easier, I did this on forever HOME when I was filming the dogs and decided to do a lens swap and get some prime lens footage to bring the audience closer in. It worked well and made the Director really happy. Also explaining having a good work ethic which I hadn't considered as we'll likely be filming long days with Tanya and later when she's gone we'll still be working by logging footage and having production meetings and it helps to keep the crew happy and going if there's a good work ethic.
Finally, he talks about taking critic well and not trying to justify your reasons, take the feedback well and work off it but obviously that doesn't mean change every little bit of the film depending on 1 persons feedback, see what everyone says and get a collective group and work off it to improve the film.
All of these videos have given me some really useful help in helping me think how I need to be as a DOP.
No comments:
Post a Comment