Jon Amerikaner

I've seen the entire trilogy, including Naqoyqatsi, all directed by Godfrey Reggio. http://www.koyaanisqatsi.org/ If you like these I highly suggest Baraka (1992) shot and directed by Ron Fricke (cinematographer of Koyaanisquatsi). It?s available on DVD and you can rent it via Netflix or purchase on Amazon, etc. Shot on 70mm, Baraka is one of my all time favorite films and a must see for anyone who believes that film is destined for more than just commercialism. I won't say too much, but the film is spectacularly shot and edited. Luckily for us, Mr. Fricke is following up Baraka with a film titled Samsara. Hopefully it will be out soon. Interesting side note: Fricke is credited on IMDB as the DP for Sicily and Thailand sequences for Star Wars Episode III: Revenge of the Sith. http://www.imdb.com/name/nm0294825/

Coming here is a good start. Still photography is a great way to learn the fundamentals. American Cinematographer is second to none. DVDs with DP commentaries are also great. Film books work, especially those with DP interviews, biographies, and memiors. And of course film school is a great way to learn, network, and gain experience.

I have a lot of people ask me what's a good camera to buy. And I always tell them that there is no good one to buy. Every project is unique and has different demands. If you buy a camera you will find that it will be good for some things but mostly very limiting. So I tell people to RENT! For $2,500 you could rent a full camera, lighting, and grip package for at least a week (ample time for a short). And I don't mean miniDV. For that cost you could probably get HD, even 16mm. The only reason to buy a camera would be if you plan to shoot a lot and are not concerned about quality. As in, you want a camera to shoot birthdays, weddings, and other personal events that you don't plan to share with anyone other than your closest friends and family. Check out B&H Photo/Video online, they carry just about everything and you can search by price and other specifications. But $2,500 won't get you very far. Now if you had 100k, you could get yourself a HD package and sell yourself as a DP with gear. This might be fine but most people will higher you for your gear and not your skills. Believe me the Robert Richardsons and Stephen Goldblatts of cinematography do not own their own gear. As a DP you should be hired for your creative contributions. You should be on projects with producers capable of raising the funds to cover the cost of equipment.

AFI requires its cinematographers to create a 35mm MOS production. They don't own any 35mm cameras but have an agreement with a local rental house. I'm sure the Rockport Photographic Workshops have at least one. UCLA extension offers courses in 35mm so they either own one or rent one for the course. Chapman University is building a grand new film studio, to be finished next year, which could quite possibly be the best in the world. They are talking about permanently renting a 35mm camera for cinematography students. But many will tell you that if you shoot 16mm right, no one can tell the difference between it and 35mm. I think if you master your craft well, you can shoot in any format. It's not a big deal if you don't shoot 35mm because as a DP all you really need is a first AC and operator who are competent with 35mm. And by many accounts, film will be phased out all together within ten years.

I think the Panasonic Varicam might be a good option: http://catalog2.panasonic.com/webapp/wcs/s...Model=AJ-HDC27F Certainly, 16mm is a great way to learn. The problem is that the technologies are changing so fast that within two years of the purchase of a new camera, a better one will emerge. What would be ideal is if you could set up some kind of permanent rental with one of the manufacturers. They deliver their newest camera to you. And you and your students use it until a new camera is created. What you should advocate with the manufacturer is that since most cinematographers are hesitant to use an untested camera, your school could be the testing ground for the cameras. Your students shoot their projects and then provide footage to the manufacturer who in turn can show the footage to potential customers. I think some of us are wary about the footage created by the manufacturers because they do not always mirror the kind of environment found on a typical shoot.

I am about to start a long stint at film school as a cinematographer. I thought it would be wise to purchase a digital still camera as a way to record and archive my lighting and shooting excercies and as a way to take stills on the set to be corrected via computer and sent to the lab to better communicate my ideas for the timing of dailies and so on. I am curious if you have any suggestions, experiences, and critiques about various cameras? What should I look for in a good digital still? What should I be cautious about? Thanks.

There is no one path to cinematography. Many talented men and women have reached their dreams through many different paths. But what I believe they all have in common is passion, patience, and persistence. In my opinion the best way to become a DP is to just do it. Shoot as many projects as you can, either in school or as an independent filmmaker. While working in a rental house or becoming a crew member can get you there, many aspiring DPs who are good at their crew jobs work so much that they cannot find time to shoot. It used to be that to become a first class DP one would spend a decade or more in all the subordinate crew positions: loader/2nd AC, 1st AC, and Operator. The benefit to this system was by the time one became a DP; one would be immensely qualified to handle the job. Unfortunately do to the high volume of very talented crew people and the very limited number of jobs; this has become less of an option. Personally, I'm going to graduate school where, unlike the industry, I am guaranteed the opportunity to shoot films. Your background in still photography will be tremendous since cinematography is essentially still photography but at 24 frames per second instead of just 1. Clearly cinematography has some unique challenges to it not found in photography, but the concepts of composition, color, and exposure remain very similar if not identical. I would not put a lot of emphasis in filming major projects on your GL. I own a GL myself and I am very aware of its capabilities. If you get on a project I would encourage you to rent a better camera for a fraction of the purchase cost. Right now the only graduate schools (in the US) that offer specializations in Cinematography are AFI and Chapman. At other schools you can make yourself a DP, which can be advantageous because most of your peers will be aspiring directors in need of a talented and dedicated DP, but these schools will not give you the same specialized track as AFI or Chapman. I applied to and received admission to both so I can tell you more about each. Hope this helps, best of luck.

Thanks Jayson. I was in Stephen's class last Tuesday. Were you the DP presenting the plans for your thesis? If yes, you did a great job. I know your busy but I would very grateful to learn about your AFI experience. You can email me at amerikan@berkeley.edu, or reply with your email address, if you would like to take this correspondence away from this forum. Thanks again. All the best, Jon Amerikaner

That makes two of us. Stephen called me this morning. What a week! I interviewed Monday and here it is Friday and I'm in. Can't wait to meet you this Fall. Thanks everyone. And for those that did not make it, don't give up, follow your dreams, and do what makes you happy. Peace.

I've just returned home from LA. The interview was great, nearly a full hour! I also sat in on a class where I met current fellows and viewed two thesis films. There are some extremely talented people at AFI. And believe me, I'm not easily impressed. I am happy to tell you more and answer questions. Please email me at amerikan@berkeley.edu or reply to this post with your email address. Peace. PS I'm told that finalists will be notified of their status this Friday! Best of luck to all.

Thanks

I wish I knew. All I know is I'm going in next Monday, which they said is their last day for interviews before they make their final decisions that Friday! The guy who called me was surprised, as I was, that I hadn't got called earlier. I guess it doesn't really matter.

That's what I thought, but I got a call this morning and I'm interviewing in-person next Monday! Did you interview?

I just recieved the call for an interview for next week. Those of you who got interviewed (for cinematography fall '05): what did they ask, what was it like, what advice can you give? Thanks.

I just recieved the call for an interview for next week. Those of you who got interviewed (for cinematography fall '05): what did they ask, what was it like, what advice can you give? Thanks.

Thanks all for the good advice. Keep it coming. I posted these reel questions because I had two well-respected ASC members give me conflicting advice on reels. One, whose reel consisted of scenes lifted straight out of his features' release cuts, said my reel should display my capacity as a storyteller. It should show how I deliver a beginning, middle, and end. The other ASC member said my reel should be my best images, independent of any story, that's for directors he said, and yes with any famous faces at the very beginning. I can see the benefit of both formats. The emphasis on story is important for the narrative cinematographer. But knowing the demands of reel reviewers, I also want to show them my best in the shortest possible time. In a few minutes they should know whether or not I have what it takes. Thanks again and please keep posting. I am especially interested in reading any success or horror stories about your own reel dilemmas.

Andre where are you going to school? What has your experience like so far?

Start small. Start with still photography, preferably with an SLR. That will teach you composition and exposure. If you can develop your prints, that's even better. When I was in HS I volunteered at a small independent TV studio where we broadcasted local sports. I did a lot of BS but I eventually started shooting. That led to a job as a TV news cameraman. I then started shooting student films in college. There are lots of opportunities to shoot because most kids want to direct. I'm now on my way to getting an MFA in Cinematography. No matter what, you need to shoot: stills, video, or film. Just keep shooting and you'll get better everyday. And watch a lot of films, especially classics. Get a netflix account, that will keep your cost down, and try to see films you never heard of.

What advice can you give on putting together a reel? Should it be complete scenes or sequences lifted right out of a film's final cut? Should it be the best images cut togther independent of any story? What works? What doesn't? Thanks

Did you study under Bill Dill? What is he like? I will be attending Chapman MFA Cinematography next year where he is the professor. Thanks.

I was just offered admission to the MFA cinematography at Chapman. Chapman seems to have their poop together. They were the last school I applied to and the first to contact me for an interview. They seem dedicated to improving their school and hopefully by the end of next year they will have a brand new, all in one, facility with classrooms, stages, shops, post, and a theater. If you are applying for the new MFA Conservatory (modeled after AFI and European schools) as a director you will, like all grads, produce, write, direct, shoot, audio, edit, and design a film (not all at once) the first year. The second year you will direct scripts written by the screenwriters and like all grads write a feature screenplay. The third year is dedicated to a thesis film that can be writer/director initiated. Screenwriters only have a two year program to the Production's three. However this is probably subject to change. You should ask them to send you their film school brochures and literature. Also, go to ftv.chapman.edu, click on the student resources link and download the student handbook for some very detailed information. I also suggest contacting the department chairs, Joe Slowensky for graduate, and someone else for undergrad. I went out to Chapman, sat-in on a class, and met my cinematography professor in his office hours. That pretty much sold me.