Director of Photography
The person in charge of lighting a set and photographing a film. Also known as "cinematographer," "first cameraman," or "lighting cameraman," he is responsible for transforming the screenwriter's and director's concepts into real visual images.
In the early days of cinema, camera work was handled by one man who not only operated the camera, but often also developed the film and printed it in the laboratory. But as the art of film progressed and grew in complexity, the duties of the cameraman became more specific and his contributions to the quality of a film more vital.
The modern director of photography does not physically operate the camera. This is
done by a "camera operator." Others in the crew under the charge of the director
of photography are the first assistant cameraman, also known as the "focus-
The director of photography's involvement in a film begins some time before the actual start of production. He is usually consulted by the producer and director about a variety of technical details, including the choice of film stock and laboratory. He normally scouts the proposed locations to ascertain their suitability and to determine the type and number of cameras and lighting equipment that may be needed for shooting. The art director and set decorator consult him on the placement of lighting units and camera riggings in every set. Once shooting begins, the director of photography is second in importance on the set only to the director.
Working closely together, the director and the director of photography determine the camera angles, setup, and movement for every shot, The latter then selects the proper lens and filter that will best achieve the former's concept of the shot, determines the exposure, and sets up the lights to achieve the particular effect desired. The camera operator takes over from there. Later, the director of photography joins the director in viewing the dailies, or rushes, to evaluate his earlier work and make necessary adjustments for future shooting.
Definitions by Editors of Microsoft Cinemania and from Katz's Film Encyclopedia
What Makes A Good DP?
"Every Director of Photography, whether shooting film or video, must have a thorough knowledge and understanding of the many lighting techniques, styles, instruments and related tools necessary to achieve a desired `look' for a film or video.
Although there are many film schools and other programs available to gain access to this knowledge, it really boils down to experience, on the set and on location.
Finally, a good DP must be able to move beyond the nuts and bolts of his or her craft. There are lots of DPs out there who have exposure charts and focal length charts practically memorized; who have a thorough knowledge of lenses, film stocks, developing and printing processes; who can load film magazines and operate many of the film and video cameras available; who can use a light meter properly; who can rattle off the quickest way to set up a shot.
However, all of that knowledge is meaningless if they don't also have an instinct and natural talent for what is pleasing to the eye: composition, framing, lighting, color, shadows, movement, et cetera; all the small details that enable an image say something to our intellect, to our emotions and to our spirit.
It is a combination of this technical knowledge and the gift or talent for 'seeing' things in a way most people cannot that makes for a good Director of Photography."
Cameras Operated:
Sony PMW-
Sony DXC-
Sony HVR-
Sony DSR-
Sony DSR-
Sony DSC-
Sony DSC-
