Kahleem Poole

Beautiful. Well said and fully agree.

Not sure how he would have a point necessarily. How would shooting on film be beneficial special effects wise? Especially considering the amount of clean up needed from celluloid scanning for proper compositing.

Couldn't agree with Adrian more, pick up some issues of AC magazine. It's an invaluable resource. A few things to take into account though: 1. The technical things you can absorb constantly. From tutorial videos, to getting to assist on larger sets. Learning Cinematography on a technical level can be learned fairly quickly. So research, research, research and make yourself stronger in that way. 2. This is the part where none of us can help you: what is your vision and how do you train your eye ARTISTICALLY? Are you fond of soft light, or hard pools like Alton? Are you more of an empty space photographer or do you enjoy dirtying up the frame to make things interesting in a different way? How do you communicate with a Director who is bossy vs a Director who is very laid back? What about actor's who may be really finicky about their skin against certain types of lighting? It'll take years to find your way creatively, but the more honest you are with yourself and the more risks you take, the more you'll learn as a photographer. And, THAT is when you'll more than likely understand when you are a Cinematographer or not. Unlike #1, this is a never-ending form of self discovery.

I'm surprised that this conversation continues to exist. With respect to Mr Mullen (with whom I am a big fan), we are at a point where we have more tools to work with, more options as a Cinematographer and even more so, the ability to control our image as best we want and can. I even make sure that I'm involved in the post DI to maintain the image's integrity. If you want your image to look akin to "film", you're more than likely speaking on the color, roll off and grain. That's really about it at this point. They both have advantages and disadvantages and it's your duty as an artist and as a technician to not only understand this, but to manipulate it. Not compare by downplaying the tools. What's with this Sega vs Nintendo argument, guys? The brushes continue to be there, whether you like them or not. Either you paint on the canvas or simply move along while another talented, hard worker will instead.

Love this. Just shared it too. Much appreciated for this production and definitely educational for those interested in filmmaking.

BEAUTIFUL. One of my favorite cinematographers too!