CINEMATOGRAPHER
The cinematographer goes by many names, cameraman or camera
person, but more commonly the DP (Director of Photography.)
The selection of the DP is very important on any "independently"
produced movie, since the DP gives the picture its characteristic
"look."
You may be a pretty savvy film maker and know the look that
you want to establish, but you can't be involved with all the details
of photography. If you try you'll end up neglecting most of the other
aspects of the film maker's art, such as directing actors and ensuring
that all the other technicals are being properly recorded. You'll end
up with a picture that is "all style and no substance." There are a few
exceptions, once in a lifetime you'll run into a film with a very
limited scope that managed to rely entirely on photography.
You should definitely have discussions with your DP about
the look of your film. Some directors take out their DPs to see some
favorite movies together. That's a good practice. Hopefully the DP you
select will have some film to show you. That can be very helpful. And
you might consider shooting some test scenes.
I remember one of the films that I shot was being scripted by some
young people making their first film. I went out with a hand held 35mm
camera, an ARRI II C, and shot some scenes with their cast and everyone
felt a lot more relaxed after they saw the footage projected at the lab.
But it's on the set when the choice of the DP takes on a
special significance. A well-shot film becomes a dynamic collaboration
between the director and the DP, with the entire crew tuned in on the
course of the shooting.
The director gives certain instructions about what he wants to see in
the frame. The DP interprets those instructions on a technical level
and shows the director something more than the director asked for. The
director may have said, "Give me a wide shot establishing the herd of
cattle coming over the hill." The DP may shoot the scene back-lighting
and framing some branches in the foreground and above the herd. The
director may like the framing, indicate approval in some way and
proceed filming or he may ask for something different. He may ask to
eliminate the branches in the foreground, for example, because the
script calls for a "stark" look.
The DP should always contribute something more than what is
required superficially, because that's the job of the DP and every
technician in fact. However the director may limit or restrict the
amount of suggestions offered by the DP. That becomes a matter of
establishing a working
relationship. It may occur during the pre-production discussions or
during the first day of shooting. Usually an experienced director
doesn't have problems even with the most creative and collaborative
DPs.
A DP should be aware of the way a film cuts (editorially)
together. He should study the script and make sure that the editor
won't have jump cut problems (long shot to long shot or medium shot to
medium shot with the same pictorial content "jumping" from one side of
the frame to the other).
The DP should be aware of the natural rhythm of the story and make his
shots smooth and the camerawork unobtrusive and yet effective,
achieving the intent of the script and the vision of the director
(which hopefully are in harmony).
There are so many more things one might add about the role
of the DP, but remember we are concerned here with picking crew, so
that we'll cover more about such things in future sections.
However, there is one final aspect relevant to the selection of the DP.
If you're doing an action film, the DP should be adept at shooting
action. If you're shooting dramas with a lot of dialogue, the DP should
know how to follow actors as they speak. There are many actors who are
very creative and passionate about their professions, who get fired up
in a scene and do something different than what was rehearsed for
camera. An experienced DP and operator (sometimes the same person,
usually a team) should know how to get the shot without losing the
actor out of frame or, heaven forbid, yell "cut!" or stop
shooting.
Sometimes the actor will walk into an unlit area of the
stage and the DP and operator have to be able to quickly open up the
aperture of the lens or throw some light into that spot, but in all
events to continue shooting and following an exceptional performance by
the actor. If the director chooses, the scene will be cut at any point.
That's not the DP's responsibility. The camera keeps rolling until the
director yells "cut!"