Can be found here, at Hollywomen:
here are some fellowships and mentoring programs:
Can be found here, at Hollywomen:
here are some fellowships and mentoring programs:
If you've not yet seen A Woman Under the Influence, run, do not walk to your nearest available source of intelligently curated and reliable media. Then come back here and watch these two epic talents talk about their work.
"We're face to face with images all the time in a way that we never have been before. And that's why I believe we need to stress visual literacy in our schools. Young people need to understand that not all images are there to be consumed like fast food and then forgotten--we need to educate them to understand the difference between moving images that engage their humanity and their intelligence, and moving images that are just selling them something."
Martin Scorsese from: "The Persisting Vision: Reading the Language of Cinema."
“Operating the wheels needs to become second nature as it can be a disaster if the technique of operating distracts from the relationship that an operator has with the subject.
When I was starting I practiced doing figures of eight with the wheels and progressed to signing my name with them. I don’t feel the need to practice anymore but I do reassure myself that I can still sign my name each time I start a new film, if I am using a gear head.
A gear head is not everyone’s choice and I don’t always carry one but it does have distinct advantages on certain set ups and on certain films.”
“I am very wary of showing too much in the way of plans and diagrams. Not because I am secretive and I don’t want to give away something that is personal. Not at all!
I just remember that when I began as a film maker and a cinematographer I never watched another cinematographer at work. The closest I ever got to seeing ‘how it was done’ was by shooting some documentary footage of Doug Slocombe at work on ‘Pirates of Penzance’. I loved seeing him work but it had absolutely no influence on the way my work evolved.
Our styles could not be more different. That’s my point really. You can’t learn your craft by copying me or anyone else. I hope what I do can do is in some way inspire others but I would be appalled if I though my work was being studied as ‘the right way to do the job’.
My way is just one of an infinite number of ways to do the job.”
“Sometimes, as with the death row scenes on ‘Dead Man Walking’, it is better to compromise composition, lighting and perhaps even sound a little and shoot with two cameras in order to help an actor get their performance. Sometimes it is better to go wider to include a prop in frame than break an actor’s concentration.
When an actor appears on set ready to do a take it may be too late to change anything. At that time if I see a bad shadow or an eyeline that is slightly off I might talk to the actor or I might not. Perhaps I might think it better to change things for take two. If not then I judge it my mistake and I must try not to let it happen next time.
In the end a film can look lousy but work because of a great performance but not the other way round. That’s something always worth remembering.”
“I rarely took lights on the documentaries I shot in Africa. Much of the time I worked without an assistant so carrying more equipment than absolutely necessary was out. I did carry some white bed sheets and a silvered space blanket, which I used for sleeping in on cold nights (and it can get very cold in Botswana for instance) protecting the raw stock and equipment from the sun as well as for lighting.
I think the most important aspect of shooting documentary is to make use of what light is available simply through your positioning of the camera - and the subject if you are controlling what you are shooting. For me, using extra equipment, whether it was a tripod or a reflector, was usually a distraction and counterproductive.”
“There is an obsession with technology that I don’t care for. You pick the camera for the job based on cost and many other factors. I think ‘In This World’ or ‘Slumdog Millionaire’ are good case studies in this regard.”
“Cinematography is more than a camera, whether that camera is a Red an Alexa or a Bolex. There is a little more to it that resolution, colour depth, latitude, grain structure, lens aberration etc. etc. etc. The lenses use for ‘Citizen Kane’ were in no way as good as a Primo or a Master Prime and the grain structure in that film is, frankly, all over the place. But the cinematography? Well, you tell me.”
“In the final analysis you can only judge picture quality by eye and make a personal decision as to what you like and what you don’t like. Perhaps some people really can not see a difference between a 2K scan and a 4K scan of the same negative and I am sure some people really do prefer the look of an image produced by the Red Camera to one shot on film.
The choice of a camera system is no different than the choice of a lens set, a camera position or where to put a lamp.”
“On one of my first dramatic films I had got to the set early only to hear the 1st AD and a Carpenter questioning why someone whom they had never heard of was shooting their film. They turned to me and asked if I knew the cinematographer. I said I did.
I then told the Carpenter to rig a beam at the ceiling for lighting and asked the AD to send out for some asprin ... whilst I went outside to be sick.
I still have times when I feel totally stressed out and sick in my stomach. I explain it to myself in thinking that I have ever higher expectations for what I am working on and consequently it never gets any easier.”
“If you work your way up you might find it easier financially. Also, you will have time to learn your craft and become confident in what you do. On the other hand you may well find youself stuck for some time at one level and find it hard to make the jump from an assistant to an operator for instance. If you try to start shooting right away you may find yourself waiting a long time between pay days. Have you a showreel? Friends that might give you a break? A family that you need to support?
I never assisted. I went to film school and started shooting right away after that. Well, to be honest I couldn’t get work as an assistant so I called myself a cameraman. I found it no easier to get work as a cameraman but at least I felt better about myself. It was probably 6 months before I got my first paying work but it built quickly after that.”
“There are a number of key crew members that I have worked with consistently. Obviously, not everyone is always available especially when work is slow. I have worked with the same 1st assistant cameraman since he was promoted from 2nd assistant for the last two weeks of ‘Shawshank Redemption’ when the previous 1st AC had another commitment. He has yet to make a ‘wrong move’ so I’m not sure what I would do if he did. I would be in shock probably!”
“Personally, when I am shooting a film I am totally focused on the job in hand and find even having a silent observer detrimental. There are many people who ask to be a part of my crew or to merely observe on a production that I might be shooting. Because of my hesitancy to accede to their requests perhaps my consequent feeling of guilt has led to the creation of this site.
For good or bad I never, as a student, had the luxury of observing another cinematographer at work on a set. It was only when I came to work in the US that I actually visited another set. I say this because I genuinely feel that cinematography, like photography in general, is not something that can be learned but, pretentious as it may sound, can only be discovered.”
“The 1st AC’s job is one of the most responsible on the whole crew. I know I could never do it and I have great admiration for someone who does the job well. I have worked with the same 1st AC for many years and we are very much in sync. I do think judging focus is very much intuitive but it is also the job of the operator to watch for image sharpness and for the timing of a pull etc.
Sometimes, as when I am making up the shot or on a particularly tight close up, I will work on a fluid head and have one hand on the focus knob just as if I were shooting a documentary. When you are working fast and without real rehersals, as is becoming the norm, there is little choice to do otherwise.”
“The first thing I should say is that I work with a very special assistant and he rarely needs to work from marks. If I am shooting hand held, as I was in the boxing for ‘Hurricane’ or for pretty much all of ‘Jarhead’, my assistant will attach a remote focus to the camera or I will control the focus myself. I find this is the only way sometimes, especially if I am ‘creating’ shots as things unfold. I spent many years shooting documentaries where I always controlled the focus myself as the kind of films I was shooting demanded a very instinctive way of following the subject.
You could use a fast stock to get a greater depth of field but, in truth, it would give you relatively little advantage. You might need to build the light levels to an F8.0 to gain any real advantage from lens depth of field. I would suggest using an experienced assistant at the end of a remote focus system.”
“On the film ‘Jarhead’ we shot often without rehearsals but as I (often with Scott Sakamoto on a second camera) was operating with a hand held camera it was not only possible to react to an actor’s movements but it was just that style we were looking for. Something less formal, more spontanious and reactive which we hoped would give more of a feeling of being there to the viewer.
After a take we might talk with the actors about the scene and make suggestions to them at the same time as changing the way we were moving with the camera. It became a interesting collaborative process. Lighting had to be more general in this case and neither I or my assistant gave marks to the actors. In fact my assistant almost never gives marks to an actor. He may put a few marks down to give himself an idea of lens position and it’s distance to some points in the space but he will often say to an actor that they are not for them and nothing for them to bother about.”
“My equipment list actually changes very little from film to film. Of course equipment has advanced and that has made for different choices but the basic idea of the package is the same.
I have worked with Andy for some time now and I rely on him to test the package before a shoot. We work together on concocting any special items such as the ‘helmet cam’ for shooting the game in ‘The Ladykillers’ and we usually spend a day shooting tests even if the film is quite straightforward.”
“I think you need to be very familiar with grip equipment just as you need to be familiar with the range of lighting units available; otherwise you might ask for something that is really impractical or might not produce the right result. It is a Key Grip’s job to come up with a technical solution to a task and also the most efficient way of achieving it but it is the cinematographer’s responsibility to know if the concept will work in the first place. I think this requires a general understanding of the equipment to hand and it’s various usage.”
More important than any notes is to spend time with your gaffer and key grip so that you are all in sync with the plans you have of the work ahead. I do remember telling my gaffer once or twice ‘It’s on my diagram’ only to be told that he was going by his memory of what I had said and not diagram I had given him.
“I generally feel intimidated! One of my first films was with Richard Burton and I felt intimidated by his talent (‘The Spy Who Came in from the Cold’!!!), at least I felt was until he gathered the crew, thanked us all for one of the most pleasant days he had ever experienced on a film, and then told us he had in fact felt totally intimidated by our youth!”
“After having done a tech scout with the crew I will always draw (sometimes I do them on a computer but not often) plans of each set regardless of how complex the scene or the lighting might be. Each diagram will contain information on lighting positions, lamp types, practical sources, diffusion to be used, camera platforms and crane requirements that was discussed on the scout as well as other things that I have considered since.
Often I will return to particularly difficult locations and scout them with my Gaffer and Key Grip only. Before production I will sit down with my Gaffer and Key Grip to go through all the details of the plans so that we all have a clear of what is involved and so they can communicate these needs to the rigging crew.
Something else that is extremely important is to go through the schedule in detail with your crew. Any pre-rig requirements have to be discussed with the AD and sometimes the schedule needs to be adapted to facilitate the work required.
I couldn’t say that I have any tricks other than that I try to work with the same crew as much as I can. It makes such a difference when you know the people around you and they know the way you like things done.
I find that once a shoot starts I am far too busy on other things. Naturally, we refresh ourselves on what is coming up in the next day or so as we go but I think it is important to take the time during prep to look at the overall schedule. It is good to know where you might need extra effort.”
“As I have said before every director is different and may require something different from a cinematographer. The onus is on the cinematographer to find out how best to work for and with a director and with other members of the crew, for that matter.”
Just in case you haven't see this yet, wow, Life in A Day is a crowdsourced documentary that covers 192 countries, used almost 4500 hours of footage, and was whittled down to 90 essential minutes. As a concept it works incredibly well. I would love to see more projects like this, this is a genre that has much more to offer than meets the eye.
"Remember to work in obscurity and never have your first film become a giant hit because then you are in trouble and in danger of being a major flash-in-the-pan. Become a big soft plop-in-the-bowl, but create such a stink with your picture that people cannot ignore it. Things that stink become even more potent with age."
— George Kuchar, 1942 - 2011
I just answered a question posted by a colleague who is working on her first documentary and I thought this would be useful to some of the folks who visit here as well. The text is below.
Great question and open to many answers. I'll stick to some process oriented bits of guidance:
1) Write a master proposal that you can tailor for different grants and project phases.
i.e. some grantmakers only fund development, others prefer to fund projects at the finishing phase.
2) Build a community around your project, find people who want to support you and who would benefit from seeing the film.
a) Reaching out to this amazing group is a good start, also check out Doculink and folks from IDFA, The Flaherty Seminar
b) When I think of people who benefit from the film, I think of people who are very familiar with the subject, issues you're dealing with, groups are good for feedback as well as support.
c) Brush up on Copyright rules, particularly Fair Use law so you can quickly decide which footage you can afford to license, and which footage you can go ahead an use because it falls under fair use guidelines within the specific context of your film. Fair Use Guidelines
3) Find a few mentors who can coach you through your various growth phases:
a) One type of great advisor is someone who has made many docs before, and will be able to help you make smarter mistakes, LOL.
b) Another key advisor group you'll need are the people who are subject matter experts.
4) Once you have a clear roadmap for the film, you've identified your target audience; it’s a good idea to make a realistic assessment of who would fund your project. A great place to start is the Foundation Library, while you're doing that you can also explore indiegogo and kickstarter and build an online campaign for your development phase. That is the hardest phase to fund since there's not much more than an idea to demonstrate. If you've made a trailer that closely matches your vision and intentions you can create a compelling case and make that idea more tangible as well as showing your ability to craft a good story.
Hope this advice is helpful to you.
Patience, perseverance and persistence,
Every day, just move the project forward a little.
Make a phone call, send an email, do a little research, write up a pitch document when you're good and fired up. Take risks, make foolish choices and give yourself permission to make mistakes.
You'll get there.
Tags: advice, documentary, filmmakers, funding, how to, independent filmmaking, making your first documentary, raising money, women in film, writing by Francesca Prada
Keep the focus on the story, enjoy the work, respect the audience and most of all, find joy in the doing, in the working. Make art in the spirit of generosity. Kvell* because of the community y/our project created, think of all the careers you're supporting and the jobs you're creating. You're very fortunate!
If you can, allow yourself to fall in love with it (the creative process), just a little. That bounce in your step and that joy is contagious, that top down happy thing has its own momentum and inteligence. It makes good projects great and difficulties bearable.
* Yiddish expression from expressing joy at the success of others
excerpt from: Notes to New Producers
© Francesca Prada All Rights Reserved 2010
Tags: finding Joy at work, Leadership styles, notes to new producers, Quotations: writing by Francesca Prada