Paul Brenno

Here's my DP Reel, although I am going to be updating it....

http://www.productionhub.com/video/view.aspx?item=8710

I've been in the film/video field now going on 15 yrs, been a fulltime DP for 5 yrs.

First impression is it looks like a student film demo...if this is, keep in mind;

1) Make your demo shorter, about 2min's, Directors/Producers want to see your skills, but will get bored after about :30.....I've struggled with this myself, but you have to be objective with your work, view your reel as a Director of Producer would, keep it short...

2) I liked both b/w and color, but use your tripod MORE, highlight more smooth shots

3) Learn from the greats, watch movies from DP's you admire...I admire the following

- Geoffrey Unsworth (2001: A Space Odyssey to Superman: The Movie)

- Dean Semler (Dances with Wolves)

- Roger Deakins (Shawshank Redemption)

- Jack Green (Unforgiven)

- Robert Richardson (JFK)

- Caleb Deschanel (Patriot to Passion of the Christ)

- Vittoria Storaro (Apocalypse Now to The Last Emperor)

Watch and learn from the greats, study the composition, color, shot sequences, etc....

My input would be, find out what interests you the most, where your talent lies, is it lighting or camera operation (??)....I've read where most Cinematographers come from the ranks of the camera crew, from 2AC to Operator then finally to DP under the wings of talented DP's. Others come from Electric, working as Best Boys to Gaffers, then finally to DP, but not as much as camera crews.

In echoing similar posts from others here, there is NO one right path to become a Cinematographer/DP. I've been a non-Hollywood or NY City DP/Digital Cinematographer fulltime for about 5 yrs. I would suggest, if you live in a major city, to go to a good film school and educate yourself on making films, not just studying films, but actually shooting them. In film school, you have the opportunity to shoot as many things are possible and make contacts with those who want to direct, shoo their projects....a common motto is " shoot, shoot, shoot, then when you are tired, shoot some more "....the best way of learning how to be a better DP/Cinematographer is frankly doing it....make mistakes and learn from them....

Another way many have started is being able to PA or assist on film crews, if they are available to them. If film school or university is not reachable now, then I would suggest contacting all local film/video production companies and volunteer to work on sets with their camera crews. One more way is to do the same thing at TV stations where they actually shoot/edit commercials to long form productions...

Good reel....I've been a non-Hollywood/NY DP now for about 5 yrs....couple of helpful pointers....get yourself some warm cards if you are shooting HD 16:9 (www.warmcards.com)....I use them on every shoot I'm on....also, when shooting skies, your opening title, polarizers if you have one....they will deepen the blue in the sky and take out any reflection from mirrors to windows that might trip you up.....here's my reel, athough I'm going to be updating it soon.....http://www.productionhub.com/video/view.aspx?item=8710

hello Nathan....you sound very similar to me when I was in high school....I wanted to pursue being a DP after buying my first American Cinematographer magazine....the path to become a Cinematographer/DP are very different, there is NO one path.

My thoughts are to shoot everything you can get and save everything you shoot, (except for porno's but will leave that up to you)....

From what I've seen, take any job that gets you in the door and where you can prove yourself to be talented and good to work with. I know of no crew job in Hollywood that is fulltime with benefits, like the normal job we all know about. If you can afford freelancing, then do that, but it takes a LONG time to develop relationships for the employees (Producer and other crew) to hire you....Being an AC is a great way to learn the camera, taking care of equipment, loading magazines or digital cards, etc....Being a Grip to Gaffer is also a great way to learn as well, since you get to know the electric side, lamps, which lights to use, etc....Another big help is to find an internship with a crew or DP....some offer pay, some don't, but you'll make connections and get your foot in the door..

I went to film school in Montana, but then worked in creative services/video production and learned how to Write/Produce, DP/Edit....a great way to learn, although you might be doing small car ads to furniture stores, but you get to work....

Video production companies are a great area too, which is where I work. You can get work with digital gear, dolly tracks, steadicams to lighting, shoot commercials to long form productions.....In these areas, you dont' have to worry about being in a union or paying dues, but if you are, make sure you make the right connections to con't to work....

If you watch the DVD commentary #2 Disc, there are some shots of the camera magazine and I think he used 5246 for ext's...int/nights not sure....he actually did a Lighting Class in Australia for

the AFRTS of DWW, he used Agfa, ASA 320 for all interior TP's

Actually the film stock for ext's Dean used on DWW was 5296...this was back in '89. Not sure what he used for Daylight film, though...I can only guess 5247

Good Cinematography to me means images or the photography helps tell the story, pure and simple and doesn't become what takes your attention away from the director's vision...

Dean Semler said on a video about lighting not to have your photography look too beautiful, because then it takes away from the story...which I really agree with. Good cinematography, to me, means you are total captured in the moment, into the feel of the story...

I've seen bad cinemtography in movies/documentaries where images are out of focus, composition is amateurish (meaning off), over or under-exposed, color temperature not right, things like that...

I honestly think when you see bad cinematography, you'll know !!!

Does anyone know what he did for Dances With Wolves. 5247 was 125 ASA by 1989, so exposing at 64 ASA would be a full stop over wouldn't it? Wouldn't that burn out the highlight slightly, or would he just stick a one stop ND on the camera? Also does anyone know which apetures he would have used. I was thinking, considering an anamorphic cuts two stop of light he would have had to have the film pushed one stop to rech 64 ASA wouldn't he?

 

Thanks, I'm rather confused.

If you watch the DVD commentary #2 Disc, there are some shots of the camera magazine and I think he used 5246 for ext's...int/nights not sure....he actually did a Lighting Class in Australia for

the AFRTS of DWW, he used Agfa, ASA 320 for all interior TP's

I'm a Cinematographer/Videographer here in Denver. I first saw Dean's work on the epic " Dances with Wolves ". That film blew me away photographically. I knew being a DP was my dream ever since high school, then that film cemented it. In my senior yr in film school, I got to meet Dean while he was directing a feature in Montana. DWW is one of my inspirations in my work still to this day.

I not only loved his photography, but mostly the story of DWW.

I'm thankful to all the DP's in the ASC or their con't inspiration and many other well-known DP's out there...

Personally I haven't seen any better than Conrad Hall yet. What other legendary DP's are there?

My personal favorite is Dean Semler's " Dances with Wolves "

more favorites Caleb Deshanel " Passion of Christ "

Jack Green " Unforgiven "

Roger Deakins " Shawshank Redemption "

Dean Semler " Dances with Wolves "

Caleb Deschanel " Passion of the Christ "

John Toll " Braveheart "

Robert Richardson " JFK "

Jack Green " Unforgiven "

Roger Deakins " Shawshank Redemption "