If you are talking to my post, what I said was that GREAT DP is hired for the eye he brings in, not to run camera as director tells him. When great director works with great PD, they obviously have mutual respect, but that builds over time. Some director have their favored DP and vice versa, that makes usually great film in the end. Same applies to composer as music is just as important in making a film what it becomes in the end.Stanley Kubrick is known for the look of his movies - and he did start out as a still photographer - but how important was he, and how important was his Director of Photography.
For example, should we ignore Kubrick and credit Gilbert Taylor entirely for the look of Dr. Strangelove?
Looks like DP is just a moron hired to trigger camera.Barton Fink and Hud Sucker owes their look to storyboarding and set design/location scouting. What's left to and done by the cinematographer is quite standard.
That is DP's job to make the "look" of a film. Director picks one based on his own criteria and there are tandems that collaborated for years as they have a matching minds and surely each other's respect.Ditector Steven Spielberg and DP Janusz Kaminski always collaborate. And they only use film. Spielberg trusts this DP which is why he uses him so much.
No, that is the operator and focus puller you’re talking about.Looks like DP is just a moron hired to trigger camera.
DP is right into the setting before any shooting starts including camera location, angle, perspective relationships, colors, lighting etc.
Film 101 - good read, even if most of it is plain standard knowledge for anyone following movie making at its basics.
It depends entirely on the particular director and the relationship with the DP.That is DP's job to make the "look" of a film. Director picks one based on his own criteria and there are tandems that collaborated for years as they have a matching minds and surely each other's respect.
Suggesting that DP has little to do with what we end up seeing on screen is just ludicrous.
Let me say this: I don't know where you got that from, but if I were an up and coming DP, I'd be thrilled to be on top director's roster at any position, even as a young DP and would likely follow him than try to be on my own line of thought. Soon after ANY ambitious DP will make own stamp and he grows this will become more and more of clear distinction. I'm sure there are directors that are control freaks and no matter who ends up on the team, becomes at best second tear employee. But that doesn't work and if as director I not only want a good DP, but also one who has own vision, can argue it and be capable of making it his. While Oscars have become political nut jobs for a good couple of decades now, they've been giving the statue out to DP (and MD for that matter) for a reason.It depends entirely on the particular director and the relationship with the DP.
Guys like Carpenter, Kubrick and Hitchcock leave little up to the DP, because they have a very clear idea of what they want.
Again, it depends entirely on the director. Some directors simply have a very clear image of exactly what they want, and they want a DP who can execute that without much fuss.Let me say this: I don't know where you got that from, but if I were an up and coming DP, I'd be thrilled to be on top director's roster at any position, even as a young DP and would likely follow him than try to be on my own line of thought. Soon after ANY ambitious DP will make own stamp and he grows this will become more and more of clear distinction. I'm sure there are directors that are control freaks and no matter who ends up on the team, becomes at best second tear employee. But that doesn't work and if as director I not only want a good DP, but also one who has own vision, can argue it and be capable of making it his. While Oscars have become political nut jobs for a good couple of decades now, they've been giving the statue out to DP (and MD for that matter) for a reason.
I mentioned MD because with your logic music director also has little to do with music, just makes a band play without much say what it is they play.
In "Saving Private Ryan", Spielberg wanted to make the opening scene of the Normandy invasion and other combat scenes very taught, to hold you in your seat. Kaminski came up with the idea of changing the normal shutter speed of the camera to a higher speed. That creates a staccato effect without deleting any of the actual frames. So for example, instead of shooting 24 frames per second at 1/50 for each frame, he changed it to 1/100 of a second for each of the 24 frames. I think he applied it only to the action portions leaving the regular shutter speed for personal interactions. It helped create the illusion of the fog of war where it seems you can't figure out what's happening as it happens. It's very discombobulated and makes you feel like you're in the action.Ditector Steven Spielberg and DP Janusz Kaminski always collaborate. And they only use film. Spielberg trusts this DP which is why he uses him so much.
Again, it depends entirely on the director. Some directors simply have a very clear image of exactly what they want, and they want a DP who can execute that without much fuss.
They are rare, but they do exist.
If you are talking to my post, what I said was that GREAT DP is hired for the eye he brings in, not to run camera as director tells him. When great director works with great PD, they obviously have mutual respect, but that builds over time. Some director have their favored DP and vice versa, that makes usually great film in the end. Same applies to composer as music is just as important in making a film what it becomes in the end.
Ditector Steven Spielberg and DP Janusz Kaminski always collaborate. And they only use film. Spielberg trusts this DP which is why he uses him so much.
Kaminski shot all of Spielberg's movies since 1993. This is a neat article where Kaminski describes his ideas and methods in various films including the opening scene in Saving Private Ryan.there are many significant cases of these tandem. One simply cannot conceive of a Kaurismaki movie with Salminen, for example.
Spielberg is a complicated case, since if it comes to concessions, here is a name. I honestly don't know how many DPs he has worked with but I understand that with Kaminsky they start working on Schindler's list.
Robert Yeoman told that 90% of the shots in Wes Anderson movies come from the storyboard, he has some freedom in the lightning but the rest is pretty much fixed and carefully reviewed by the director on stage. Robert has worked in every Wes Anderson film to date.
Thank you for this thread. I've been enjoying all the images you shared.With regard to Kubrick, a digression on the subject: when the director also has a career as a photographer..
Thank you for this thread. I've been enjoying all the images you shared.
I keep coming back to the still photographer Stanley Kubrick had on set during the filming of Dr. Strangelove - his good friend, Arthur Fellig (known by most as Weegee).
Just think of how many influences were involved in creating the look of that film!
Not true. The effect was achieved with not a greater frame rate, which would have looked comical, but a narrower slit of the rotating shutter. Giving much less motion blur per frame than normally. Something you’d usually want to avoid. Instead using aperture, ND filters and lighting to control exposure.In "Saving Private Ryan", Spielberg wanted to make the opening scene of the Normandy invasion and other combat scenes very taught, to hold you in your seat. Kaminski came up with the idea of changing the normal shutter speed of the camera to a higher speed. That creates a staccato effect without deleting any of the actual frames. So for example, instead of shooting 24 frames per second at 1/50 for each frame, he changed it to 1/100 of a second for each of the 24 frames. I think he applied it only to the action portions leaving the regular shutter speed for personal interactions. It helped create the illusion of the fog of war where it seems you can't figure out what's happening as it happens. It's very discombobulated and makes you feel like you're in the action.
That's where a good DP can add a lot to the movie. Plus Kaminski is just a great craftsman with using film.
The Presentation House show referenced in this review was an absolute delight - I was so glad I had a chance to see it: https://www.straight.com/movies/394076/kubrick-weegee-and-strangelove-meet-againI had no idea that Weegee had worked with Kubrick, wow. I confess that I saw Dr Stangelove a couple of years ago but I think I was too tired when I saw it to be able to appreciate it. Now with this information, I think I will look at it with different eyes.
We use cookies and similar technologies for the following purposes:
Do you accept cookies and these technologies?
We use cookies and similar technologies for the following purposes:
Do you accept cookies and these technologies?