Cinematography for Directors. Jacqueline Frost

are similar to your project. Share photographs or pictures from magazines that may resemble the look of your film. If paintings are a potential visual reference, visit museums together. If it is a period piece, look at period photographs or postcards to help you select a visual look for your film.

      8. Show the cinematographer your storyboards and anything visual you have in mind (such as still photographs and video clips).

      9. If there is a great deal of production design for the project, have the cinematographer meet with the production designer to discuss the plans for the sets and colors.

      10. Once you hire the cinematographer, let them shoot tests prior to the start of production to make sure you are getting the visual look you desire. Sit down and screen them together. This is also a trial run to see how well you work together before going into production. During this prep time you can test color palette and whether an image will be saturated or desaturated.

      11. Visit locations together. The cinematographer will need to consider power sources and what type of lights will best suit the situation. It also gives you the chance to discuss blocking and light while you are on the location. Is time of day a consideration that should be scheduled in?

      It is key that you, as the director, know what you are looking for. If you will be open to visual suggestions, make that clear to the cinematographer and listen to their ideas.

      Also keep in mind that cinematographer will also be assessing you, the director, and making their own decision about how much they want to work with you!

      WHAT A DIRECTOR CAN DO TO PREPARE

      Here are some suggestions for new directors to prepare themselves to be a creative collaborator with the cinematographer. The director should have a vision of what the project will be like and have the enthusiasm to share that vision with the cinematographer.

      Go to equipment shows such as NAB and CineGear, where you will have the opportunity to see what new technology is available and understand what camera formats are new to the market. Know some of the latest technical resources.

      Learn the fundamentals of cinematography: types of lenses, the use of focal length and depth of field; basic lighting styles and qualities of light (hard light, soft light, the color of light). Have an idea of what you want, but remain open to suggestions.

      Use visual references that pertain to the look or tone of your film, some of these references can come from paintings of the masters, period photographs, and other films. Spend time with your cinematographer discussing the look and style of your film.

      Make your cinematographer your partner. It is important that they feel they are collaborating with the director and that they are respected. This could include doing storyboards together.

      In addition, build the relationship, communicate your ideas. Learn to take suggestions or reject them with tact and respect. Collegial communication is important.

      Be prepared. Directors should have a good idea of what the film looks like completed in their minds. Storyboards are very helpful for the cinematographer. Remember the cinematographer is the writer in a visual language, perhaps with less exposition but with more effect on mood.

      Talk to the cinematographer about thematic elements in the story. The cinematographer thinks visually and may have suggestions as to how to enhance your story cinematically.

      Visit locations together with the production designer to discuss the color and visual design of the locations and sets.

      Be clear on the relative importance of shots. Don’t waste time torturing the DP on a shot that isn’t important to the story and will probably be cut anyway. Know the limits of what can and should be done.

      Make sure you have done your homework and prep in blocking. A good cinematographer will have prepped, too.

      Understand how using processes such as desaturation or shifts in color or hue may affect your audience on a visceral level. Screen-test together.

      Keep egos in check. The director should do their job, and the cinematographer will do theirs. Crossing the line of responsibilities causes problems. The DP is not there to take over the film but to facilitate the director’s creative vision.

      Remember, a good cinematographer will stand with their director. They know that it is the director who hired them, and they are ready to work with the director to achieve the best possible image.

      CHAPTER 2

      THE CINEMATOGRAPHER AND THE SCRIPT

      I have worked with a lot of writer/directors. I like people who are articulate and one of the things I like about working with writers is that they can amend their own material. They don’t lose track of the story, which is easy to do when you are negotiating with actors about how a scene is going to work or what the trajectory of the story is. The writer/directors I’ve worked with are very confident on the set about what the story is and how to tell it. I find that reassuring and admirable.

      (John Lindley, ASC, Frost interview)

      What attracts a cinematographer to a script? It could be many things. Is it a story they can relate to? Does it propose a visual challenge? Is it in a genre that they want to work in? Is it the kind of movie they would want to see in the theater? Where is the location? What is the budget? These are all questions that might run through a cinematographer’s mind when she or he has been asked to shoot a particular film.

      ■ I first read the script and ideas are generated, but I try not to fall in love with my ideas, just get some basic concepts. I listen to what the director has to say, maybe talk about some of the concepts I had on my first read. Once I understand the approach the director is trying to take, I go to my photography books for visual references to come up with visual ideas that I can present to the director.

      (Rodrigo Prieto, ASC, Frost interview)

      ■ I’m very attracted to a first-time director that by definition is the author of the script and has a clear vision into the material because they have created it. For me that’s the most compelling thing.

      (John Bailey, ASC, Frost interview)

      ■ I like something that explores a side of human nature that is really unique. I don’t gravitate to the normal comedy for example. I always like to light the actors through their eyes. I feel like no matter what the subject matter, the soul of a person comes out through seeing both eyes.

      (Nancy Schreiber, ASC, Frost interview)

      When a cinematographer connects with a screenplay it becomes much easier for them to make suggestions to the director on how to capture the underlying thematic elements of the story. If they feel they can contribute significantly they will become excited about helping to bring the words on the page to life. They will transform the words into images in their minds and come to a director with visual ideas from paintings, photographs, other films, and whatever references might clearly convey their interpretation of the script. This begins the visual dialogue.

      ■ What really attracts me is something different, a story with an edge. I’m not particularly drawn to comedy, although I’ve had a blast every time I’ve worked on comedic material. Generally, I’m drawn to the darker subject matter, I’m drawn to family drama, anything that provides an opportunity for using camera movement and lighting to help the director tell a story.

      (Amy Vincent, ASC, Frost interview)

      The screenplay should be well written and in the correct format prior to anyone reading it. It should be well developed and certainly not a first draft. The script attracts the actors, the cinematographer, and the entire crew, so it should contain elements of story that people will not only be interested in watching but that producers and the entire crew assembled will be enthusiastic about being a part of. This applies to short scripts as well as feature scripts. Whether you are the writer/director or working with a writer, make sure it is ready to be seen and not a rough draft.

      ■ The first time I read a script, I pay attention to how it affects