Cinematographer at PorkMoney

Responsibilities
The Cinematographer’s responsibilities as outlined below is an attempt to describe the duties a cinematographer is likely to encounter during his/her career.

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.

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

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
• 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

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

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.

Planning

• Check and approve all call sheets and shooting order of the day’s work

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

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)

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

Photography:

• Photograph scene
• Approve or correct take
• Check parameters and reset for next take
• Shoot any plates
• Shoot any video playback material
• Make sure that stills are taken of scene

Administrative:

• 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

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.