| The Responsibilities of the Cinematographer |
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The cinematographer’s responsibilities as outlined below is an attempt to describe the duties a cinematographer is likely to encounter during his/her career. No two jobs are the same and the duties will contract or expand depending on the scale and complexity of the job. As can be seen, there is a vast amount that a cinematographer is required to know and do and this can only be learned over a number of years of filming. Thanks to John Hora ASC who drew up this list for publication in the ‘American Cinematographer’ magazine. I. PREPRODUCTION A. Conceptual Research and Design • Discuss all aspects of script and director’s approach to picture in preliminary talks with director • Analyze script as whole • Analyze story structure • Analyze characters • Research period, events, general subject and appropriate design elements • Devise style, visualize approach • Continue talks with director on new ideas • Come to agreement with director • Discuss and come to agreement with production designer • Discuss and research with technical advisor B. Practical Research and Design • Ascertain or find out budget requirements • Recon and approve locations • Plot sun position for locations • Check local weather • Check tide tables near ocean • Review, discuss and approve set plans • Review and approve props, action vehicles, airplanes, boats, horse-drawn vehicles, mock-ups and miniatures C. Technical Research and Design • Visit laboratory to calibrate, customize and evaluate exposure system for any combination of electronic or chemical image capture; and establish developing, printing, set timing and transfer protocols • Visit rental houses • Explore new equipment • Learn how new equipment works • Invent (or cause to be invented) special equipment or techniques for show • Standardize and create effects bible for show • Help create and approve any story boards • Design (or cause to be designed) and approve any built-in or practical lighting fixture • Design lighting-plot plan and rigging for stages and locations with gaffer and key grip D. Quality Control • Choose and approve crew, film stock, lab, equipment, second-unit and visual-effects crews • Supervise manufacture and testing of new or modified equipment • Visit sets under construction • Approve wild walls, ceiling pieces and any moving set pieces • Check lighting-fixture crew • Walk locations and stages with all departments to discuss requirements • Approve set colors and textures • Approve costume colors and textures • Approve makeup and hair • Generate (or cause to be generated) and approve equipment lists for camera, electric and grip • Check rushes screening rooms for correct standards and/or check quality of rushes telecined to tape. E. Implementation • Approve stand-ins • Train crew to use any new equipment • Walk locations and stages with director and devise shooting plan • Make list of special equipment for production manager and indicate number of days required • Work with assistant director on shooting schedule (order of and days required for each scene) • Estimate and order film stock (type, size and quantity) • Generate (or cause to be generated) and approve rigging and shooting manpower and man-days • Assist other departments in getting required equipment, manpower and tests • Maintain regular contact with other department heads. • Mediate any problems between departments • Check loading of production trucks or cargo containers for location or international shipping • Visit cast run-throughs and rehearsals • Advise and back up director on any problems • Help producer or studio solve any production problems F. Testing • Shoot tests for style • Shoot tests for lab • Shoot tests for lighting of principal actors • Shoot tests for camera and lenses • Shoot tests for wardrobe and makeup • Shoot tests for any special effects processes, unusual rigs, props or methods II. SHOOTING A. Planning • Check and approve all call sheets and shooting order of the day's work B. Blocking • Watch rehearsal of scene to be shot • Devise shot list with director (coverage) • Choose lens and composition; show to director for approval • Make sure composition and movement fulfill scene task • Work out mechanical problems with camera operator, assistant camera, dolly and crane grips • Set any camera-movement cues • Place stand-ins and rehearse, fine-tune • Ensure proper coverage of scene for editor • Work with assistant director on background action C. Lighting • Design lighting to show set/location to best advantage relative to story, style and dramatic content • Light each actor to reinforce and reveal character • Make sure mood and tone of light help to tell story • Design light for minimum reset time between set-ups • Utilize standby painter for control of highlights, shadows, ageing, dusting-down of sets and props • Set any lighting cues (dimmers, spot lights, color changes and any pre-programming) D. Preparation • Work out any sound problems • Work out any problems with other departments • Check, set and approve all stunts with stunt co-coordinator • Set any additional cameras required for stunts • Double-check safety with all concerned • Show shot to director to make any final changes • Get actors in for final mechanical rehearsal; solve any outstanding problems E. Photography • Photograph scene • Approve or correct take • Check parameters and reset for next take • Shoot any plates • Shoot any video playback material • Move to next set-up F. Administrative • Define first set-up in morning and after lunch • Make sure that stills are taken of scene • See that "making of" and/or EPK crews get needed footage • Make sure script supervisor has any special camera or lighting notes • Check film raw stock inventory • Try to shoot up short ends • Check that camera logbook is being kept up to date • Complete day's work • Discuss first set-up for the next day • Ensure that camera, electrical, and grip crews get all copies of equipment rental or purchase invoices and approve before accountants pay vendors • Take care of any future or ongoing production issues • Answer any questions about future problems • Visit production manager and producer at end of day • Check for return of all unused equipment G. Quality Control • Call in for lab report • View previous day's work in projected rushes with director, producer, editor and camera crew • Discuss and approve rushes • Consult with makeup, wardrobe, production designer and assistant director about rushes • View, discuss, correct or approve second-unit or effects rushes • Order reprints if necessary H. Training • Teach beginning actors movie technique (hitting marks, size of frame, lenses, etc.) • Train camera crew for next job up the ladder I. Contingency • If director is disabled, finish day's shooting for him or her III. POST PRODUCTION A. Additional Photography • Discuss and be aware of delivery dates for all post-production • Photograph or approve any additional scenes, inserts, special effects or second-unit footage. B. Grading (Color and Density) • Grade and approve trailer for theatres and TV • Approve all optical and digital effects composites • Grade the picture • Regrade until correct C. Quality Control • Approve final answer print • Show to director for OK • Approve interpositive (IP) • Approve internegatives (IN) • Approve release prints • Approve show prints from original negative • Approve all blow-ups or reductions D. Telecine/Color Correction • Supervise and approve film or digital original transfer to electronic or film media (Hi-Def, NTSC, PAL, Secam masters, digital intermediates, archival masters, etc.) • Supervise and approve all transfers to and from digital intermediates • Supervise and approve all letterbox, pan and scan or reformatting of film • Supervise and approve tape-to-tape color correction and VMS, DVD, digital projection media, etc. • Show electronic transfers to director for OK E. Publicity • Do any publicity (newspaper, magazine, Internet, radio, TV, DVD commentary, etc.) F. Restoration/Archival • Be available for any future reissue, archival reprint or electronic transfer of film.
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