CINEMATOGRAPHY TECHNIQUE Know the script Seems like another ‘no brainer’. But... Far too often camera crews and even DoP’s don’t know the script backwards and forwards. And you can see the same mindset at play in online forums and groups where the focus is skewed so heavily towards gear and technical cinematography techniques versus the art of visual storytelling. Being a cinematographer is as creative as it is technical. Make sure the ideas you bring to the table are grounded in a knowledge of the scripted material. We know debating fancy new camera and gimbals are fun, but the best DP's aren't just gearheads.

DP Gregg Toland innovated and truly “changed the game” with light and shadow on Citizen Kane

A great early example of a DP and Director innovating together and serving the story is Citizen Kane. DP Gregg Toland kept his depth of field, and used light and shadow to direct the eye, creating a more dramatic look. Without a focus on how to serve the story, such innovation would have been rendered meaningless. Make notes in your script. Bring up visual suggestions, questions, and ideas. Have conversations about styles to emulate, other film’s this story reminds you of. The better you know the project the better you’ll be able to help serve it. CINEMATOGRAPHY TECHNIQUE Use the right gear for the job Not every shoot will need a fully decked out Alexa package with cinema zooms. Sometimes a shoulder mounted ENG camera is exactly what a project needs. Get familiar with ALL types of cameras and lenses. Not just the big ticket cinema stuff. Being precise about what you need is one of the most important cinematography techniques you'll develop. Because if and when the director asks for something out of the ordinary you’ll need to be ready with not only suggestions, but also the requisite knowledge to implement them. Knowing how to achieve the same end goals will make you favorite of producers as well. Which likely means more jobs. CINEMATOGRAPHY TECHNIQUE Perform camera tests Learn how to do traditional camera tests with a chip chart, color chart, and human models, and then do them once you get your hands on the camera. With proper testing, you can see exactly how the camera reacts before you get on set and determine a lot of lighting and shooting strategies beforehand. As opposed to on set where you’ll have a dozen people waiting for you to get to know the camera. You might have learned to do this in film school. But we’re putting it here because we don’t want anyone to take it for granted. Sometimes certain basics fall by the wayside. This is one you should never let that happen to.

FOR THE BEST CINEMATOGRAPHY, BE SURE TO TEST: Different camera settings (ISO, working stop, LUTs, color spaces, etc) Filters Lighting choices (color temps, diffusion, direction, brightness)

CINEMATOGRAPHY TECHNIQUE Make a shot list You’ll want to make a shot list right after a tech scout to determine what lenses you need. A well organized shot list is going to be one of your best tools on set. In StudioBinder, you can create a new shot list. From there you can spin off new shots, group and sort your shots by type. You can even add pictures from your scout directly into the app, which will create a storyboard you can show your director.

How to Create a Shot List with StudioBinder

You can also quickly add and organize shots on the go. Many other cinematography techniques are dependent on your ability to understand and utilize tools like this first! As a shot list example, take a look at how lifestyle and adventure filmmaker Matt Komo planned out a 24-hour film production using StudioBinder's shot list feature.

How to Plan Your Shot List

CINEMATOGRAPHY TECHNIQUE Location, location, location We mentioned John Ford before, but another thing he helped institute was shooting on location for maximum visual impact.

Ford's cinematic technique: Shoot epic locations like Monument Valley

Ford shot countless westerns in Arizona’s stunning natural landscape of monument valley. He knew the location well, and the towering red rocks helped him frame his shots perfectly. Find good locations. Understand what the light will look like there at different times of the year, or day (more on that later). The better your locations, the better your look with potentially less work from you and your crew. CINEMATOGRAPHY TECHNIQUE Never say "fix it in post" Well, you can say it. Sometimes it’s fun to say. Just try not to depend on it. The best cinematography typically comes from your locations and lighting and not with DaVinci Resolve. Post production software will not be listed amongst our cinematography techniques. Plus, whatever you can’t capture naturally on-set, might takes way more time and money to recreate in post. The best way to make sure to get the best look the first time around? Give yourself TIME to create it. That’ll mean planning the shoot carefully, and committing to your game plan on set. If you don’t think you’ll have time, use screenshots from existing films and tv shows and create a storyboard or moodboard in StudioBinder and share it with your team as a previz. If it looks good here, chances are it’ll work for you on set.

Turn Your Shot List into Storyboards in StudioBinder

Remember, you are being hired for your expertise in cinematography techniques. Your producer will love you for saving him thousands. Post fixes are way more expensive than having the Art Department touch up a flaw. CINEMATOGRAPHY TECHNIQUE Double-check the call sheet The triple check the call sheet. Why? Because otherwise you could be late. Or in the wrong place. You might get through film school without ever seeing a proper professional call sheet. Does this really belong among other cinematography techniques? Maybe. Maybe not. Do it either way. If that’s the case, look at some now. Check out the call sheet function in StudioBinder and get to know what you’ll be looking at. This is what production will send you EACH day. You’ll want to know where everything important is on it. They will put in important details about the next days shoot. Many of them you will be consulted on. Some of them are just good to know. For example, how long will you have between crew call and first shot? How long will you have to change scenes? What time is the talent arriving? When are they done make-up? How does any of this effect your planning? I don’t know. But you should. And you WILL. Because you’re going to know all about call sheets before you even get one.