After the recent Lighting Workshop I felt that I really needed to learn more about the role of D.O.P and look for some helpful information on cinematography; during the week at college I went to the library and looked through some of the shelves and came across a couple of books that I thought might prove to be interesting and helpful to read; the two books I picked up were:
Practical Cinematography by Paul Wheeler
and
Digital Cinematography by Paul Wheeler.
Over the weekend I decided to do some substantial reading towards my research for the upcoming shoot; along with the two above mentioned books, I also dug out two of my own books and decided to read them for so me extra research. Those two books were;
Cinematic Storytelling by Jennifer Van Sijll
and
Film Art: An Introduction by David Bordwell & Kristin Thompson.
What I've learned
Book 1: Practical Cinematography by Paul Wheeler
After reading the sections of this book that related to the actual role of cinematographer/D.O.P; I've learned quite a few more things of what the role actually requires and how I should look to prepare myself before the shoot. I was actually quite surprised that this role can really be very demanding even during pre-production.
D.O.P: Job requirements;
- Reading the script regularly
- Holding various meetings with the Director
- Early access to recce shots
- Keeping a close eye on and with up-to date storyboards
- Close to shoot day - confirm colours & textures with wardrobe/Art Director
- Detailed schedules and Lighting plans
- Shooting order
- Giving camera set-ups to operator before
- Taking charge of stills photography on set
- Confirm with Director the scenes required for the next day at the end of shoot
I hadn't realized that being D.O.P would be so demanding from the pre-production right through to the production of a film. Every little process that leads up to the shoot of any film the D.O.P seems to be always there or thereabouts whenever any decisions not only on the visual side of the film but also the storytelling. After reading this I am certainly going to make sure that I'm kept up-to date with all the storyboards for the film and will make a priority to read the script on numerous occasions and start planning out each shot that is required before the shoot days.
Need to also speak with Joe (Director) to talk about the recce shoots for the film, at the very least I'd like to see the shots, and also need to confirm whether or not there is going to be a camera operator on set or whether the operation of the camera will also be part of my responsibility.
D.O.P Preparation
- Recce shots close to shoot days - to work on camera set-ups
- Type up equipment and lighting lists
- Technical schedule with equipment and shot lists
- Sole communication with camera operator
- Lenses to be decided before the shoot days; each shot should have the lens listed with it
After reading this I'm really concerned that if I'm not able to go out to the set of the film then I won't be fully prepared to have the correct camera set-ups for the shoot days; will have a chat with Joe (Director) about possibly tagging along when he goes out onto the moors for the recce shot. Will also take a very detailed look at the script and storyboards to decided beforehand which lenses I will require and use for each individual shot and list them and then begin working on a technical shooting schedule.
Book Two: Digital Cinematography by Paul Wheeler
Unfortunately it turned out that this book didn't prove to be any use to me; apart from just repeating what I had already learnt and read from the Practical Cinematography book by the same author; the rest of the book I didn't find relevant to my area of research. I had hoped that being a digital based book it might have covered the DSLR area of cinematography as I will be shooting the film on my Canon 550D; I'm going to try and see if I can hunt down a book that looks into DSLR's and talks about them from a cinematographers standpoint.
Book Three: Cinematic Storytelling by Jennifer Van Sijll
Section 9. Camera Lenses
Wide angle - can capture the vista but also use this to progress characters story with a nice depth of field. This is something that I'm going to try and look into fitting into 'After Arcadia' as I really like the idea of not only capturing the landscapes that our protagonist is covering but also using the shots to progress his story further to give those wide vistas more meaning other than just being used as nice looking cutaways.
Telephoto lens - could exploit this to increase protagonists seemingling hard and agonizing journey to find humanity; I've played around with the idea of possibly having our lead character walking towards the camera or possibly running up hill and shooting this from afar with a telephoto lens to try and make it look no matter how hard and fast he tries he doesn't seem to get anywhere soon. This is something that I will discuss with Joe (Director) in the near future.
Section 10. Camera Position
Close Up - to be used with camera movement to try and increase the emotional connection witht eh audience towards our protagonist.
Over the Shoulder - will look to use this to visualize our characters gaze of emptiness and the loniness of his situation looking out over vast wide landscapes with no sign of humanity in shot.
Point of View - look to try and increase the audiences intimacy and sympathy with our lead character; could possibly try using this as he struggles up a hill hoping and half expecting to find some sign of human life on the other side of the hilltop, but only to find emptiness.
Section 11. Camera Motion
Handheld - look to use handheld for dramatic instabiltiy of our character, to use contrasts between static and handheld like in the example given in reference 'Touch of Evil' (pg. 186)
Section 14. Props
Props with Internalizing & Externalizing character - try to creatively use the mirror in the film to reveal more about our protagonist - possibility of the mirror clouding/misting as our character gets more confused.
Section 17. Natural Environment
Things that move - possible use of weather to convey or comment on scenes in the film.
Rain - might supply much needed water for our character, but might also wash away footprints that he finds leaving him frustrated - you have on one hand the weather giving him the water he needs to survive but also removing the evidence of other human life that he so desperately seeks.
Exploit the cold to comment on our protagonists struggle.
Book Four: Film Arts: An Introduction by David Bordwell & Kristin Thompson
I basically just re-read chapters 4 & 5 to refresh my mind and understandings of Mise-en-Scene and cinematography, looking at:
- The aspects of Mise-en-Scene
- Applying time and space to Mise-en-Scene
- Speed of motion and Perspectives
- Framing
- Angles, levels and heights
- Long takes
Because i'd read all of this before it wasn't as if I came away learning anything drastically new, but it was very interesting to go back and just refresh the context and theory behind these very important aspects of Film Style.
What I plan to do next
During this week I plan on having a meeting with Joe (Director) and Bob (Art Director) and showing them the Cinematic Storytelling & Film Art: An Introduction books and giving them with recommendations of which sections that might provide useful for them on the project and hopefully this will spark some interesting discussions within our group on the visual style and storytelling of 'After Arcadia'.
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