Feature Directors who choose Commercial DP's

November 24, 2004

Hey there,

I'm a commercial DP being considered for a medium size feature (5 million dollar range). The Writer/Director really wants me and is going to have to convince the Producers soon. The same arguments will come up (can he shoot on a long schedule...manage the crew blah blah blah) and I know I would be perfect for this job. I've been picky and haven't shot many shorts recently but have done a few and also a couple features on 35mm years ago low low budget. The first thing Production ALWAYS wants to do is hook up a first time writer Director with an experienced feature DP even a the expense of the movie not being pushed creatively.

Really, I'm just wondering of examples of cool films in the 3-7 million dollar range OR older films that wouldve been comparable..Mean Streets? where first time Directors OR any Director Has teamed up with a DP without considerable feature experience and resulted in a cool film...just looking for some help.

Here's what I've come up with off the top of my head...

Spike Lee used that gaffer for Clockers.

Clint Eastwood used the gaffer for Mystic river but this guy gaffed for Conrad Hall for years.

Sal Totino was a very sucessful commercial DP who shot Any given Sunday with Oliver Stone.

Max Malkin also shot Michael Hausman film but they worked together on Mv and commercials so they had a working relationship.

Hey thanks for any help you can offer.

November 24, 2004

Thank you. This helps considerably and I'll keep checking back. Appreciate all feedback.

Wendell_Greene · November 24, 2004

Jeff Cronenweth first feature as DP was with David Fincher on "Fight Club. Granted they had worked together on commercials and videos prior, and Cronenweth had shot 2nd unit and worked on the camera crew, but still, the budget was over 50 million.

Malik Sayeed was the gaffer turned DP for Spike Lee's "Clockers". Imagine not only giving a DP his first feature, but standing by him as he wants to experiment with cross processing reversal film.

DP Lance Acord with Vincent Gallo on "Buffalo 66"

British director Peter Medak was impressed with Darius Wolski's commercial reel to offer him his first major film assignment, "Romeo Is Bleeding" starring Gary Oldman and Lena Olin. That led to his work with Alex Proyas on "The Crow" and Tony Scott on "Crimson Tide"

When you think about most spots and videos are 16-18 hour workdays tight 1-2 day schedules with demands by directors who will often have over 50 set up per day; factor in several company moves and often times little or no prep, it boggles my mind that producers still question whether a DP who works on commercials and music videos would be able to keep up on a feature schedule.

Edited November 24, 2004 by Wendell_Greene

David Mullen ASC · November 24, 2004

I'm jealous -- I had to shoot 28 features before one reached the 5 million dollar budget mark!

Good luck!

November 24, 2004

I'm jealous -- I had to shoot 28 features before one reached the 5 million dollar budget mark!

Good luck!

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I'd say that's a good thing. When you reached your 5 million mark, you were extremely experienced. Many DP's venture out into the big bucks not even knowing what they are doing.

(Well, they do, but there not as experienced)

Just out of interest David, what is the standard pay a DP might get? I mean, if it's not too personal, how much do you personally charge a day? Must be a fair bit.

Edited November 24, 2004 by Daniel J. Ashley-Smith

November 24, 2004

I'm jealous -- I had to shoot 28 features before one reached the 5 million dollar budget mark!

Good luck!

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I'd say that's a good thing. When you reached your 5 million mark, you were extremely experienced. Many DP's venture out into the big bucks not even knowing what they are doing.
(Well, they do, but there not as experienced)

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Maybe you should have been a bit more discriminating when shooting your features?

I see Dp's get extremely experienced and seasoned and fast and good that have unbelievable amount of taste honing their skills on commercials. Its not the DP that will make or break the movie...at that point. Preparation is key. There are so many more variables. Most commercial DP's (if they are good working DP's) will be ok. It just depends on the person. People get fooled when they make hasty generalizations about anybody or anything. There are alot of hacks who make a good living shooting features.

David Mullen ASC · November 24, 2004

Well, I don't have a commercial-shooting career, no contacts in that arena, so shooting features is how I make a living. I can't live off of one feature shoot per year (yet) especially not the typical three to four week low-budget feature shoot. So I can only be so discriminating...

My salary has gone up over the years and the schedules have lengthened, which is a good thing.

I don't see any problems with an experienced commercial DP moving into features as long as they are realistic about how to shoot the number of pages on the call sheet each day. Planning will help a lot, as well as a good AD, plus the director, of course.

Also depends on what type of commercials they have been shooting, i.e. do they work regularly with actors.

oscar jimenez · December 15, 2004

Didn't Schatrzman and Michael Bay shoot tv commercials and music videos through propaganda film? I have seen commercials from Paul Cameron and Darious Khondji on Watchreels.com. It's a matter of taste at the end.

Wendell_Greene · December 16, 2004

Didn't Schwarztman and Michael Bay shoot tv commercials and music videos through Propaganda film? I have seen commercials from Paul Cameron and Darius Khondji on Watchreels.com. It's a matter of taste at the end.

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Yes, they both did. Bay's first commercial was the now famous Aaron Burr "Got Milk" commercial spot and he's also directed the last three TV ad campaigns for Victoria Secret. Khondji worked with Fincher on a Nike commercial which led to his being considered for "Se7en" . Cameron's amazing. I think all the work on commercials helps keep them sharp and allows them to experiment and try new equipment-- things they might not be able to do on a feature.

As the late great film director Billy Wilder once said "I'm always amazed how commercials directors can tell a story in 30 seconds - it's real power."