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RESPONSIBILITIES OF THE CINEMATOGRAPHER 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 come to agreement with technical adviser. B. Practical Research and Design. * Ascertain or find out budget requirements * Scout and approve locations * Plot sun position for locations * Check local weather * Check tide tables near ocean * Review, discuss and approve set plans * Review, discuss and approve spotting plans for stages * Review and approve props, picture cars, 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 equipment vendors * 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 storyboards * 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 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 dailies screening rooms for correct standards E. Implementation * Cast stand-ins * Train crew to use any new equipment * Walk locations and stages with director and device shooting plan * Make list of special equipment for production manager and indicate number of days required * Work with assistant director on shooting schedule (order 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 * Drop by all departments and visit department heads at least twice a day to answer any questions * 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 production problems F. Testing * Shoot tests for style * Shoot tests for lab * Shoot test 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 * Device 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, 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 setups * Utilize painter for control of highlights, shadows, aging, dusting-down of sets and props * Set and match light value, volume, color and contrast of each setup (exposure) * Set any lights cues (dimmers, spot lights, color changes and any preprogramming) D. Preparation * Work out any sound problems * Work out any problems with other departments * Check, set and approve all stunts with stunt 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 step F. Administrative * Define first setup 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 setup 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 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 dailies with director, producer, editor and camera crew * Discuss and approve dailies * Consult with makeup, wardrobe, production designer and assistant director about dailies * View, discuss, correct or approve second-unit or effects dailies * 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. Postproduction A. Additional Photography * Discuss and be aware of delivery dates for all postproduction * Photograph or approve any additional scenes, inserts, special effect or second-unit footage B. Timing (Color and Density) * Time and approve trailer for theaters and TV * Approve all optical and digital effects compositions * Time the picture * Retime 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 blowups or reductions D. Telecine/Color Correction * Supervise and approve film or digital original transfer to electronic or film media (Hi-Def, NTSC, PAL, Scam 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 VHS, 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. This list of duties of the cinematographer was published in January 2003 by the American Cinematographer magazine.