Vanessa Ward

As mentioned above, it is most important to start with motivation. There aren't rules, but there are general "cause and effect" relationships to become familiar with. For example, shaky hand held like movement can bring attention to the fact there is an operator. So, if you want the audience to feel this way, then use it for your shot. If you're shooting a football scene, intended to match the feeling of an NFL game, telephoto lenses are commonly used. Because this is how they are covered, therefore watched, by the general public. Having stedi-cam shots right on the field, beside the QB is something not possible in life, so the scene becomes more cinematic, or manufactured. Simple things like that are often discussed in books, if that's how you're looking to study, but it is also an observation thing. Take a look at "Tell Them Who You Are", the doc on Haskell Wexler, ASC. He is very good at defending or explaining the motivation of his camera work. Also, just keep watching films from different genres and eras. "Who's Afraid of Virginia Wolf" is brilliant, as is "The Conversation".

I recommend using a projector for the projector look. It doesn't have to be the in house one, just get a small digital projector and hook it up to a DVD player. It will provide the amount of light you need, and you won't have to worry about flickering any light.

As for the steel toes shoes cutting your toes off, I think that is more of a myth.

In fact, they addressed it on MythBusters.

"Myth #1: Steel Toe Amputation

Can steel-toed boots amputate toes when a heavy weight is dropped on them?

No, you're much better off wearing them on level ground. It's when preventing a heavy cart from rolling downhill that they draw blood."

just as I don't consider the photographing of a cel-animated film to be cinematography, neither do I consider CG cartoons to be cinematography.

There is some great camera work in Wall*E. I'm not sure what you're so confused about. The story has to be photographed just as much as live action films. And I don't mean the physical action of taking a picture.

True dat! :ph34r: Or still camera.

I heard no place will develop ENG anymore for stills. Is this true?

A friend of mine recently got a bulk loader, and was excited to use some 5218 100' short ends, however the second told him it wouldn't work anymore.

Think of it this way: it's like paying for education. If all works out, you'll "graduate" knowing more about equipment, technique, and set etiquette. So basically you'd be paying less to learn more. More importantly, you could end up with some good contacts.

If you're willing to travel, might I suggest checking out listings for Rochester, Albany, Jamestown? They may have some projects that I'm sure you'd excel on.

Thanks a lot guys. I really appreciate your time and guidance. I feel much more confident with these changes.

Happy New Year! :D

Hello All,

Could you please take a look at the attached résumé? While I would like to be a cinematographer, I am still a student and would be using this for general crew applications or even rental house positions. As of now, I feel it's a bit too busy, too congested, but I'm not sure what to cut or how to rearrange. I have been a DP for a few student films, should I include them? I have left out other experience in the Production department and Editing, because I'd rather work towards Camera or G/E positions. Should I try to stay focused or include the experience anyway?

Any advice would be appreciated. Font, design, format, content, whatever.

Thanks in advance!

~Vanessa

VWard_Résumé_12_07.pdf

It's not so much who you know, but "who knows you" ;)

And, of course, "who knows you know what you know" ;)